1850 
. S3 
1919 


s 

g 

i 

* 

•■v 

m 


1 


glllllllllllllll!!llllllllllllllll!lllllllllllllllllllW 

I INDEX  TO  CONTENTS  ! 


A 

Acetylene  Torch  for  Removing-  Tool 

Marks  153 

Adjustable  Stone  Banker 129 

Air  Brush,  Suggestions  for  Using..  4 

Air  Compressor  Installations,  Hints 

on  6 

Architectural  Terms,  Glossary  of..  7 
Army  Insignia  for  Monuments 10 

B 

Ball.  Polished,  on  Monument,  Re- 
volving, How  to  Set 93 

Balls,  Polished  Granite,  How  to 

Lift  146 

Banker'  Stone,  Removable  and  Ad- 
justable   129 

Banker  and  Truck,  Combination. . .154 

Bankers,  Roller  147 

Bevel  Pace  Markers,  Holding 137 

Blackening  or  Gilding  Letters 138 

Books  for  the  Monument  Dealer’s 

Library  87 

Books  on  Modeling  and  Decoration  87 

Books  on  Drawing 88 

Border  Lines  on  Dies,  How  to  Cut  38 
Bronze,  Weathering  and  Care  of . . 17 
Bronze,  Doors,  Removing  Stains 
from  20 

c 

Cast  of  Carving,  Making 130 

Celtic  Interlaced  Ornament,  De- 
sign of  34 

Cement  for  Setting  Monuments...  132 
Cement,  Various,  for  Special  Uses. 131 
Cement  Stains  on  Granite,  Remov- 
ing   22 

Cement  for  Pointing  Joints,  How  to 

Make  131 

Cements,  Best,  for  Marble,  Stone 

and  Wood  131 

Cement,  Special  Purpose 131 

Cemetery  Lettering  with  Carbonic 

Gas  Tank  ' 62 

Chemical  Analyses  of  Granites 59 

Circles,  Marking  on  Stone 134 

Circle,  Finding  Center  of 38 

Clamp,  French,  for  Stone  Work....  134 
Cleaner,  Hurricane,  for  Granite...  22 
Cleaning  and  Preserving  Old  Mon- 
uments   21 

Cleaning  Discolored  Marble 23 

Community  Mausoleum,  Patent, 

Declared  Invalid 27 

Copper.  Recipe  for  Cleaning 25 

County  Soldiers’  Memorial  Laws.  30 
Cradle  Job,  Setting,  without  Bot- 
tom Slab  150 

Crosses,  Meaning  of  Various  Forms 

of  36 

Crosses,  Proportions  of 134 

Crown  and  Cross,  How  to  Draw...  54 
Crushing  Strength  of  Granites.  ...  59 

Curbing,  Handy  Way  to  Set 150 

Curved  Walk,  Laying  Out 135 

D 

Decoration  and  Modeling,  Books  on  87 
Derrick,  Handy  Construction  of...  135 
Draft,  Cutting,  with  Pneumatic 


Tool  63 

Drawing,  Books  on 88 

Drawing  on  Thin  Paper 38 

Drawing  on  Round  Top  Dies 148 

Drawing,  Simple  Workshop 53 

Drills  for  Carving 63 

E 

Eastern  Star  Emblem,  Drawing.  . . 46 

Ellipse,  How  to  Draw 39 

Entasis  and  Diminution  of  Classic 

Columns  55 

Enameling  V-Sunk  Letters 138 


Enlargement,  Simple  Method  of....  41 

Extension  Handle  for  Switch 135 

Eye  Glass  Lenses,  Making 136 

F 

Fixing  Charcoal  Drawings 131 

Forty-five  Degree  Angle,  Finding.  49 

G 

Geology  and  Chemistry  of  Monu- 
mental Granites  59 

Gilding  or  Blackening  Letters 138 

Glue  Molds,  Books  on  Making 136 

Granite.  Composition  and  Structure 

of  58 

Grindstones,  Dressing  140 

H 

Hardening  Stone,  French  Method 

of  136 

Heart,  How  to  Draw 54 

Holder,  Leather,  for  Tools 137 

Holes  in  Granite  Letters,  How  to 
Fill  64 


Ink  Spots,  Removing 26 

Ivy  Leaf,  How  to  Draw 55 

Ivy  Leaves,  Right  and  Wrong  Way 
to  Cut  M0 

J 

Javel  Water,  Cleaning  Monuments 

with  23 

Javel  Water,  Formula  for 23 


Knights  of  Pythias  Emblem,  Draw- 
ing   47 

Knights  of  Maccabees  Emblem, 
Drawing  48 


Ladies  of  Modern  Maccabees’  Em- 
blem, Drawing  48 

Largest  Stone  Ever  Quarried 140 

Laurel  Wreath,  Significance  of....  141 

Leaded  Lettering  68 

Lettering,  Books  on 88 

Lettering  Chisels,  Tempering  for 

Granite  67 

Lettering,  Diamond  Pencil 63 

Lettering  in  the  Cemetery,  with 

Carbonic  Gas  62 

Lettering  Round  Top  Markers....  64 

Lettering  Square,  Improved 67 

Letters,  Different  Ways  of  Shading  54 
Letters,  Filling  Holes  in  Granite..  64 
Letters,  Spacing  of  in  Roman  Al- 
phabet   65 

Library,  the  Monument  Dealer’s..  87 
Lifting  Polished  Granite  Balls....  146 
Lights,  Portable,  Electric,  for  Cut- 
ter   141 

Loading  Truck,  A Handy 155 

Lockwood  Patent  Monument  Case, 

Decision  in  70 

Lodge  Emblems,  Drawing 44 


Marble,  Green  and  Black,  How  to 

Polish  147 

Marble,  How  to  Clean 23 

Marble  Statuary,  Removing  Stains 

from  23 

Marble,  White,  Cleaning  Paint  or 

Ink  from  24 

Marble  Slab,  Thin,  How  to  Hold..  138 
Marble  and  Onyx,  Helps  in  Work- 
ing   144 

Marble,  Removing  Oil  Stains  from  23 
Marine  Corps  Insignia  for  Monu- 
ments   11 


I 


K 


M 


L 


r->- -’'I' ; ; : ...  1 . : !■  i! ,1  ! , ::  ,, ■ .1  i , ,! ■ n !J ,i j ,i .1 J ,il,ili|!:ii;,|!,ll,i-,l',Lii;|!||!|lillll^ 


iiiiiiiiiiimn 


Markers,  Manufacturing,  Labor 

Saving  on  142 

Markers,  Bevel  Faced,  Holding. ..  .137 
Markers,  Round  Top,  Lettering....  64 

Marking  Stone  for  Shipment 142 

Masking  Tracings  for  Air  Brush 

Work  52 

Masonic  Emblems,  How  to  Lay  Out 

44,  53 

/Mausoleum  Roof  Patent,  Tayntor, 

Decision  in  83 

Mausoleum,  Origin  of,  and  Tomb  of 

Mausolus  85 

Mausoleum,  Community,  Patent 

Declared  Invalid  27 

Mausoleums,  Private  Costliest....  84 
Mausoleums,  Private,  Endowment, 
construction  and  Ventilation  of  74 
Mending  Letters  and  Broken  Corn- 
ers   143 

Mitres,  Cutting,  Carefully 64 

Modeling  Clay,  How  to  Make 145 

Modeling  and  Decoration,  Books 

on  87 

Models  for  Carving  Leaves,  How  to 

Make  145 

Monumental  Symbols,  Meaning  of.  143 
Mouldings,  Decorations  for 89 

N 

Names  on  Photographs,  Changing.  133 
Navy  Insignia  for  Monuments 10 

o 

Octagon  or  Hexagon,  How  to  Draw.  49 
Odd  Fellows’  Emblem,  Drawing. 47-53 

Oil,  Removing,  from  Granite 26 

Oil  Spots  or  Varnish,  Removing.  . 26 
Oil  Stains,  Removing  from  Marble.  23 

Onyx,  Mending  Broken 144 

Orders  of  Architecture,  The  Five, 

Drawings  of  94 

Ornament,  Celtic,  Interlaced,  De- 
sign of  34 

Ovals  and  Ellipses,  How  to  Draw.  39 

P 

Parts  of  a Monument,  Properly 

Named  8 

Pencil,  Diamond,  for  Lettering  ....  G3 
Pencil  Lines  on  Granite,  How  to 

Make  145 

Perspective,  Simple,  in  Monumental 

Drawing  50 

Perspective  Square  and  How  to 

Use  It  52 

Petroleum  Stains,  Removing  from 

Marble  26 

Planting  Plan  for  Dot  and  Monu- 
ment   107 

Plaster  Varnish  and  Plaster  Hard- 
ener   131 

Plaster  Cast  from  Life,  How  to 

Make  117 

Pneumatic  Tool,  Cutting  Draft  with  63 
Pneumatic  Tools,  Use  and  Abuse 

of  . ..109 

Polish,  Keeping  It  Clean 147 

Polishing  Mill,  Installing  a 115 

Polished  Raised  Letters,  How  to 

Cut  64 

Polish  Destroyed  by  Acid,  Restor- 
ing   26 

Porcelain  Photographs,  How  to  Set 

in  Monuments  ..147 

Proportions  of  Crosses 134 


Putty,  Sculptor’s  147 

Pythian  Sisters’  Emblem,  Drawing  48 

R 

Recipes  for  Cleaning  Brass  and 

Copper  25 

Revolving  Ball  on  Monument,  How 

to  Prevent  93 

Rook-faced  Work,  Its  Use  and* 

Abuse  119 

Roller  Bankers  147 

Rolls,  Drawing,  in  Perspective....  54 
Round  Raised  Letters,  Common 

Error  in  Cutting 66 

Round  Raised  Letters,  Tools 67 

Rubbing  Bed,  How  to  Construct.  .149 
Rust  on  Bottom  Bases,  Cause  of..  149 
Rust  and  Ink  Spots,  Removing 26 

S 

Sand  Blast  Method  of  Cleaning 

Marble  149 

Sawing  Stone  with  Shot,  Discovery 

of  ...  152 

Scagliola,  How  to  Make 131 

Scale  of  Design,  Changing,  Quick 

Way  of 43 

Sealing  Wax  for  Mending  Broken 

Parts  150 

Setter,  Handy  Chain  Die  Setter 133 

Small  Stones,  How  to  Hold  for 

Cutting  137 

“Softening”  Granite  for  Lettering. 151 

Solder,  How  to  Make 131 

Sparker,  Home-made,  for  Gasoline 

Engines  151 

Sphinx,  Meaning  of 151 

Stains  and  Discolorations,  Remov- 
ing   21 

Star,  Five -pointed,  How  to  Draw.  49 
Statue  Modeling  and  Casting, 

Technique  of  123 

Steel  Particles,  Removing  from 

Eye  151 

“Sweating”  of  Stone,  Preventing.  152 
Sun  Dial,  How  to  Construct 124 

T 

Tempering  Granite  Tools 152 

Tool,  Finding  Center  of  Shaft 132 

Tool  Marks,  Removing  from  Gran- 
ite   153 

Tools,  Keeping  Them  Warm 137 

Tools  for  Raised  Letters...* 67 

Torch,  Acetylene,  for  Removing 

Tool  Marks  153 

Traced  Work,  Shading...., 67 

Truck  and  Banker,  Combination . .154 
Turpentine  and  Substitutes,  Use  of, 
in  Lettering  68 

V 

Verdigris  on  Bronze 18 

w 

Warming  Air  for  Pneumatic  Tools. 155 

Water  in  Air  Tools 155 

Waterproofing  Stone  Work 127 

Weather  Stained  Work,  Cleaning.  27 
Wedge  Lead  and  Other  Jointing 

Compounds  157 

Wire,  Best  for  Pneumatic  Tool 

Hose  158 

Woodmen  Emblem  for  Monuments  48 
Wrench  Made  |rom  Pipe  Fittings.  158 


PART  ONE 

GENERAL  REFERENCE  SECTION 


HOW  TO  USE  THE  AIR-BRUSH. 

Familiarize  yourself  with  the  printed 
instructions  sent  out  with  the  brush. 
Study  them  until  you  know  each  part 
and  what  part  it  plays  in  the  working  of 
the  brush.  There  are  three  parts  in  the 
brush  that  have  to  do  with  the  speed 
and  quality  of  the  spray.  The  air  valve 
at  the  bottom,  the  needle  and  tip,  and 
the  cup  and  color  passage.  When  the  air 
does  not  come  through  the  brush  as  it 
should,  the  rubber  washer  in  the  valve  is 
probably  swollen  or  worn  out.  Put  in  a 
new  one.  If  the  air  keeps  coming  through 
after  the  lever  has  been  released,  there  is 
lint  or  dirt  or  some  foreign  substance  in 
the  valve.  Put  in  a new  washer  or  clean 
out  the  obstruction. 

Be  very  careful  that  the  needle  does  not 
become  bent.  Never  pull  the  needle  back 
through  the  tip  when  it  is  bent.  Take  off 
the  cap  and  straighten  it  first.  A bent 
needle  will  cause  a coarse,  spattery  spray. 
Dry  or  accumulated  color  on  the  tip  will 
cause  a coarse  spray.  Keep  it  clean  by 
blowing  plenty  of  water  through  the  brush 
occasionally.  If  color  has  been  allowed  to 
dry  in  the  cup  and  color  passage,  it  is  likely 
to  cause  a spray  that  is  coarse  and  comes 
sputtery — will  run  a while  and  then  miss. 
Clean  out  the  cup  and  brush  well  with  a 
saturated  solution  of  sal  soda.  Blow  plen- 
ty of  water  through  it  after  using  the  soda 
solution.  Strain  all  pigment  or  opaque 
colors  before  using  through  the  brush  to 
avoid  trouble  with  the  brush  stopping  up. 
Any  color  will  accumulate  lint  and  dust  in 
time.  It  is  a good  plan  to  keep  all  colors 
strained  once  in  a while.  The  secret  of  a 
good  working  brush  all  the  time  is  to  keep 
it  clean  all  the  time. 

Never  take  the  brush  apart  unless  abso- 
lutely necessary.  When  it  is  necessary,  be 
careful  in  putting  it  together  again  so  that 
it  is  properly  adjusted.  Oil  the  working 
parts  by  using  a little  vaseline.  Never  put 
oil  in  the  air  valve  at  the  bottom ; it  would 
ruin  the  rubber  washer. 


Work  at  the  proper  distance  from  the 
work  to  get  the  width  and  softness  of  spray 
you  want.  For  the  finer  work,  work 
closer  to  the  card  and  do  not  use  too  big 
a spray.  In  laying  a tone  evenly  on  a given 
space,  don’t  try  to  put  it  all  on  at  once. 
Use  a lighter  spray  and  go  over  it  until  it 
is  the  color  wanted.  By  going  over  the 
work  this  way  it  gives  the  color  a chance 
to  dry  before  more  is  blown  on.  Avoid 
flooding  the  color  on  the  card  in  any  kind 
of  work.  It  destroys  the  beauty  of  air- 
brushing.  Too  high  an  air  pressure,  or  too 
much  color  blown  on  a place  will  cause  it 
to  blow  out  in  mossy  looking  lines  or 
spider-webs  that  are  hard  to  get  rid  of. 

When  using  stencils,  hold  the  brush  about 
at  right  angles  to  the  work.  To  get  good, 
clean,  sharp  lines,  it  is  necessary  to  hold 
the  stencil  close  to  the  card  while  work- 
ing. If  you  want  a soft  edge  to  the  spray, 
hold  the  stencil  away  from  the  card.  Cut 
your  stencils  correctly  and  there  will  be 
no  trouble  in  using  them.  Better  spend  a 
little  more  time  in  laying  out  and  cutting 
the  stencil  than  to  have  all  the  work  done 
be  not  quite  right.  A good  quality  of  sten- 
cil paper  is  the  best  to  use.  In  case  you 
cannot  get  it,  use  any  good  strong  paper  or 
thin  card.  Such  stencils  should  be  coated 
with  either  shellac  or  oil  paint  before  using 
them. 

All  shading  of  a design  should  be  done 
while  the  stencil  is  on.  First  blow  in  a 
tone  all  around  the  design,  then  a darker 
tone  of  the  same  color  or  some  contrasting 
or  harmonizing  color  where  the  shadow 
would  naturally  fall  if  the  design  were 
really  in  relief.  The  modeling  or  round- 
ing up  of  a design  or  letters  is  done  after 
the  stencil  is  removed.  This  may  be  in 
any  way  to  suit  the  fancy.  As  a general 
rule  it  is  safest  to  keep  to  the  simpler  ways 
of  rounding  up.  When  an  elaborate  style 
is  used,  it  takes  more  time,  and  unless 
carefully  done  is  seldom  satisfactory. 

One  color  blown  on  over  another  color 
has  the  same  effect  as  mixing  the  colors 


5 


MONUMENT  DEALER’S  MANUAL 


together,  with  the  exception  that  the  last 
color  applied  stands  out  the  strongest.  You 
can  gray  red  with  bright  green ; purple 
with  yellow  or  russet  green;  blue  with  or- 
ange, or  vice  versa. 

Keep  an  air  brush  away  from  sandpaper, 
pumice  stone,  sand,  lint,  or  any  kind  of 
gritty  stuff.  You  can’t  be  too  careful  about 
using  diamond  dust  or  any  of  the  flocks, 
smalts,  or  flitters,  around  where  it  might 
get  into  the  air  brush.  Should  any  such 
substance  get  into  the  brush,  fill  the  cup 
with  water,  place  finger  over  the  tip  and 
blow  the  air  back  through  the  color  pas- 
sage and  cup.  Without  letting  the  water 
back,  into  the  brush,  by  turning  the  air  on, 
throw  the  water  out  and  repeat  until  the 
obstruction  is  removed.  Strain  your  color, 
keep  the  brush  clean,  and  you’ll  have  no 
trouble.  L.  O.  Butcher. 

The  best  known  type  of  air-brush  has  a 
long,  fine-pointed  needle,  fitting  through  a 
platinum  sleeve  so  closely  and  accurately 
that  when  in  its  forward  position  it  would 
be  impossible,  upon  merely  pressing  down 
the  lever,  to  allow  even  clean  water  to 
escape,  but  upon  drawing  back  this  lever 
(to  which  the  needle  is  attached)  with  the 
downward  pressure  still  maintained,  a fine 
spray  will  be  scattered  which  will  increase 
in  volume  the  farther  the  needle  is  drawn 
back.  The  full  extent  of  the  needle  stroke 
does  not  exceed  1-16  of  an  inch,  and  so 
gradual  is  the  tapering  that  even  when 
drawn  back  to  its  maximum,  only  the  thin- 
nest mixture  of  color  can  pass  evenly  be- 
tween the  sleeve  and  the  needle.  It  there- 
fore follows  that  if  we  are  to  obtain  the 
most  satisfactory  results,  it  will  be  neces- 
sary to  build  up  our  tint  by  repeated  spray- 
ing with  thin  color  until  we  have  reached 
the  brightness  of  strength  required.  Such 
work  when  finished  will  be  practically 
grainless,  and  not  liable  to  rub  off,  provid- 
ed, of  course,  that  the  drawing  surface  is 
free  from  greasiness,  or  has  been  primed 
by  either  of  the  following  methods  : 

1.  Rubbed  gently  with  a pad  of  cotton 
wool  dipped  in  prepared  pumice  powder. 

2.  Sponged  with  weak  ox  gall,  or,  3,  a 
thin  substratum  of  albumen  or  gelatine. 

This  priming  is  necessary  only  when 
working  over  highly  glazed  cards,  or  pho- 
tographic surfaces  which  are  liable  to  repel 
color. 

Bristol  Boards,  Whatman,  or  other 


Drawing  Papers  will  not  require  this  treat- 
ment if  quite  clean. 

It  is  of  the  utmost  importance  that  the 
air-brush  should  be  kept  scrupulously  clean, 
and  never  laid  aside  with  a trace  of  color 
remaining  in  it,  or  trouble  will  assuredly 
follow.  Pass  two  or  three  lots  of  clean 
water  through  it  before  commencing  work, 
also  on  completion,  before  putting  it  in  its 
case.  Also  during  use  it  should  occasion- 
ally have  the  nozzle  cleaned  with  the  point 
ot  a clean  brush,  and  this  very  frequently 
if  body  color  is  being  used,  or  this  will 
accumulate  around  the  point  of  the  needle 
and  cause  trouble  by  frequently  spitting. 

Quite  the  majority  of  air-brush  failures 
are  traceable  to  using  color  much  too 
strong,  instead  of  building  up  with  weaker 
color  in  the  manner  described  in  the  fore- 
going remarks.  Ticket  writers  and  design- 
ers have  a weakness  in  this  direction  when 
attempting  to  obtain  their  effects  by  one 
short  spraying  of  color  used  much  too 
thick.  Such  methods  are  foredoomed  to 
failure,  for  not  only  has  the  spray  a dis- 
agreeable sandy  grain,  but  will  also  possess 
a strong  tendency  to  rub  off  on  the  slight- 
est provocation  for  the  following  reason : 

An  air-brush  tint,  even  when  sprayed  on 
under  the  most  favorable  conditions,  has 
not  the  same  grip  of  the  drawing  surface 
as  a patch  of  color  washed  on  with  a sable 
or  camel’s  hair- brush.  The  color  is  blown 
over  the  paper  in  the  form  of  scattered 
dots,  separated  from  each  other  at  varying 
intervals  according  to  the  distance  the  point 
of  the  pen  is  held  from  the  surface.  The 
farther  away  the  wider  apart  the  dots,  and 
the  more  liable  to  rub  off,  because  much  of 
the  moisture  is  evaporated  from  the  color 
before  it  reaches  the  paper,  and  its  hold  is 
somewhat  precarious.  Its  sole  chance  of 
adhering  firmly  depends  upon  repeated  ap- 
plications until  these  isolated  dots  are 
joined  by  others,  and  so  merged  into  a con- 
tinuous tone. 

When  strong  or  imperfectly  mixed  color 
is  used,  this  scattering  action  is  still  more 
pronounced,  and  with  it  there  is  increased 
tendency  to  rub  off,  because  the  air  pres- 
sure, taxed  to  its  utmost  capacity  in  draw- 
ing it  through  so  small  an  aperture,  leaves 
these  minute  color  particles  insufficient 
moisture  with  which  to  attach  themselves 
firmly.  F.  W.  Brookman. 


HINTS  ON  AIR-COMPRESSOR  INSTALLATIONS. 


The  following  “Helpful  Hints  on  Air- 
Compressor  Installations”  are  from  a re- 
cent booklet  bearing  that  title  issued  by  the 
Gardner  Governor  Co.,  of  Quincy,  111. : 

“Get  one  big  enough.  You  always  find 
increased  uses  for  air  when  you  install  a 
compressor.  Air  tools,  as  they  wear,  use 
more  air  and  leaks  will  develop  in  the  air 
line  and  hose,  no  matter  how  carefully 
watched.  Inspect  air  line  and  hose  every 
week  at  a time  when  the  plant  is  shut  down 
and  everything  is  quiet,  and  you  will  be 
surprised  at  the  number  of  leaks  you  find. 
Locate  compressor  in  a light  room  free 
from  dust  and  set  it  on  a firm  foundation. 
Some  day  you  will  have  to  work  on  it,  so 
set  it  where  you  can  get  around  on  all 
sides  and  see  what  you  are  doing. 

“Don’t  get  the  idea  that  any  kind  of  an 
air  tank  will  do  for  compressed  air,  and 
that  a compressed  air  explosion  isn’t  dan- 
gerous. Lives  are  lost  every  year  from  the 
use  of  old  boiler  shells  or  improvised 
tanks,  the  strength  of  which  is  unknown. 
A great  many  use  for  tanks  the  ordinary 
range  boilers  which  were  never  designed 
for  high  pressure,  especially  those  carried 
in  some  garages.  In  addition  they  always 
leak  more  or  less  at  the  joints;  they  are 
positively  dangerous.  The  best  tank  is  none 
too  good.  Life  is  too  precious  to  risk  for 
the  sake  of  a few  dollars  saved  in  the  cost 
of  a tank.  Drain  your  tank  occasionally  to 
get  rid  of  the  water  precipitated  from  the 
compressed  air. 

“Most  careful  pipe  fitting  must  be  done 
to  prevent  leaks.  When  you  desire  to 
store  air  in  a tank  and  draw  from  it  as 
required  and  you  find  the  pressure  falls 
too  rapidly,  go  over  every  joint  with  soap 
water  and  see  if  you  can  detect  a leak. 
The  air  will  cause  the  water  to  bubble.  A 
surprisingly  large  quantity  of  air  will  leak 
through  a most  minute  opening.  It  costs 
money  to  compress  air,  so  don’t  let  your 
money  leak  away. 

“Stock  safety  valves  are  not  tight  enough 
to  hold  air.  Get  the  kind  that  are  tested 
by  putting  on  pressure  and  holding  under 
water,  and  if  they  bubble  they  are  not 
good  enough  for  air.  Test  the  valve  occa- 
sionally to  see  if  it  works. 

“An  air-compressor  cylinder  requires  very 
little  lubricating  oil;  in  fact,  it  is  hardly 
possible  to  feed  it  in  slow  enough  for  the 
best  results.  If  a 12-inch  cylinder  gets  two 
'Tops  a minute  it  is  a great  plenty — smaller 
:mes  in  proportion.  Never  use  a cheap 


grade  of  oil.  Any  oil  that  will  give  good 
service  in  an  automobile  or  gas  engine  is 
all  right  for  an  air  compressor.  All  ver- 
tical splash  type  compressors  carry  over 
some  oil,  and  unless  great  care  is  used  in 
lubrication,  so  will  the  horizontal.  On  most 
work  this  small  amount  of  oil  is  not  ob- 
jectionable; but  where  it  is,  a special  sep- 
arator should  be  used  to  eliminate  it  en- 
tirely. Consult  with  the  compressor  maker 
in  such  cases.  Don’t  forget  to  give  leather 
belt  an  occasional  dressing  with  a good  belt 
grease,  or,  if  gear  driven,  lubricate  the 
gears  occasionally  with  graphite. 

“Never  carry  a higher  pressure  than  your 
compressor  is  guaranteed  for.  It  is  best 
in  your  regular  work  to  find  out  just  how 
much  pressure  is  necessary  and  then  main- 
tain this  pressure — the  higher  the  pressure, 
the  greater  the  power  required.  It  is  a 
waste  of  power,  therefore,  to  carry  an  un- 
necessarily high  pressure,  and  power  costs 
money. 

“The  maximum  speed  given  in  a com- 
pressor manufacturer’s  table  is  as  fast  as 
any  compressor  should  ever  run. 

“Compressing  air  raises  the  temperature 
— the  higher  the  pressure  the  greater  the 
heat.  A great  many  users,  not  realizing 
this  fact,  and  finding  their  machine  run- 
ning hot,  attribute  the  trouble  to  lack  of 
lubrication  and  use  an  excessive  amount  of 
oil.  This  only  aggravates  the  heating  trou- 
ble, as  it  causes  the  oil  to  carbonize  on  the 
valves  and  piston  head. 

“Use  city  water  supply  when  possible. 
Where  inconvenient  to  do  so,  a circulating 
pump  makes  a good  substitute.  Always 
use  an  open  metal  tank,  as  it  permits  the 
heat  to  escape  from  the  water  much  better 
than  a wood  tank.  Avoid  using  dirty  cool- 
ing water — it  clogs  up  the  water  jacket  and 
reduces  cooling  efficiency.  Don’t  forget  to 
turn  on  cooling  water  when  you  start  and 
shut  it  off  when  you  stop.  In  freezing 
weather  be  sure  to  drain  water  jacket.” 

* * * 

Considering  that  about  two-thirds  of  the 
smaller  dealers  use  the  storage  system  of 
operating  their  air  plants,  it  would  be  ad- 
visable for  dealers  that  contemplate  the 
installation  of  air  power  to  profit  by  the 
experience  of  other  dealers  and  use  good 
judgment  as  to  what  capacity  air  plant 
their  business  most  calls  for. 

The  storage  system  we  refer  to  is  a sys- 
tem of  many  dealers  to  economize  on  their 


MONUMENT  DEALER’S  MANUAL 


7 


electric  bill  and  at  the  same  time  save 
considerable  wear  on  the  machinery.  By 
letting  the  compressor  run  for  three  or 
four  minutes  enough  air  is  pumped  into 
the  tank  to  operate  one  or  two  tools  from 
fifteen  to  thirty  minutes  without  power. 

Past  experience  of  the  practical  dealer 
has  brought  out  this,  and  that  is  that  the 
first  compressor  they  invested  in  was  not 
large  enough  to  meet  their  present  de- 
mands. At  the  time  they  bought  the  com- 
pressor they  might  have  been  using  only 
two  men,  and  it  is  perfectly  natural  that 
they  thought  a two-tool  capacity  air  plant 
would  meet  their  demands ; but  the  expe- 
rience these  dealers  went  through  has 
brought  out  the  fact  that  no  compressor 
under  six-tool  capacity  is  too  large  for  a 
shop  where  two  and  three  men  are  used. 

In  using  an  over  capacity  plant  and  using 
the  storage  system  referred  to,  it  will  be 
found  that  the  difference  in  the  electric 


bill  of  a two  and  six-tool  capacity  plant 
amounts  to  a very  little,  or  with  the 
smaller  plant  which  has  to  be  run  during 
the  entire  time  of  operating  the  tools.  A 
good  many  dealers  who  use  the  storage 
system  have  found  that  they  can  still  econ- 
omize by  connecting  two  tanks  to  the  com- 
pressor instead  of  one.  The  connection  of 
the  two  tanks  can  be  made  from  one  to 
another  or  they  can  both  be  connected  sep- 
arately to  the  main  outlet  of  the  com- 
pressor. 

It  is  not  necessary  to  have  the  tanks 
the  same  size,  and  many  dealers  take  ad- 
vantage of  this  by  making  use  of  their 
old,  discarded  tank  as  well  as  their  new 
one. 

When  investing  in  an  over-capacity  plant 
we  have  enough  power  to  pull  through  the 
best  season,  and  if  the  business  ever  de- 
mands more  men  it  is  not  necessary  to  buy 
larger  machinery.  G.  A. 


ARCHITECTURAL  TERMS— A GLOSSARY. 


Abacus — The  uppermost  member  of  the 
capital  of  a column,  immediately  under  the 
architrave. 

Acroter  (also  spelled  Acroterium) — The 
ornamental  finish  to  the  apex  of  a gable, 
generally  in  Gothic  architecture ; also,  a 
small  pedestal  for  statues  or  other  orna- 
ments placed  on  the  apex  and  at  the  basal 
angles  of  a pediment. 

Annulets — A small  flat  fillet,  encircling 
a column,  used  alone  or  with  other  mold- 
ings ; several  times  repeated  under  the 
Doric  capital. 

Antefix — An  ornament  similar  to  the 
acroter,  but  smaller;  ranged  along  the 
frieze;  sometimes  concealing  the  ends  of 
the  joint  tiles  of  the  roof,  or  pierced  for 
the  escape  of  water.  Occurs  on  modern 
monumental  buildings  in  the  antique  style. 

Architrave — The  lower  member  of  an 
entablature,  or  the  part  which  rests  im- 
mediately on  the  column. 

Arris — The  sharp  edge  or  salient  angle 
formed  by  meeting  of  two  surfaces ; ap- 
plied particularly  to  the  edges  in  the  mold- 
ings, or  the  raised  edges,  separating  the 
flutings  of  a Doric  column. 

Cornice — a horizontal,  molded  or  other- 
wise decorated  projection  which  crowns 
the  part  to  which  it  is  affixed,  as  the  cor- 
nice of  an  order,  pedestal,  door,  window  or 
house. 

Corona — The  projecting  part  of  a classic 


cornice,  the  under  side  of  which  is  cut 
with  a channel  to  form  a drip. 

Echinus — The  rounded  molding  forming 
the  bell  of  the  capital  of  the  Grecian  Doric 
order;  the  quarter-round  molding  of  the 
Roman  Doric  style ; a name  sometimes 
given  to  the  egg  and  dart,  or  egg  and 
anchor  molding. 

Entablature — The  superstructure  which 
lies  horizontally  on  the  columns ; it  is  com- 
posed of  architrave,  the  part  immediately 
above  the  columns,  frieze,  the  central 
space;  and  cornice,  the  upper  projecting 
molding. 

Entasis — A slight  convex  swelling  of  the 
shaft  of  a column. 

Fillet  (or  Taenia) — A narrow,  flat 
member ; especially  a flat  molding  sepa- 
rating other  moldings ; also  the  space  be- 
tween two  flutings  in  a shaft. 

Flute — A channel  of  curved  section ; 
usually  applied  to  one  of  a vertical  series 
of  channels. 

Frieze — The  middle  part  of  an  entabla- 
ture of  an  order  between  the  architrave 
and  cornice;  a flat  member  either  uniform 
or  broken  by  triglyphs,  often  enriched  by 
ornament. 

Guttae — A series  of  ornaments  in  the 
form  of  a frustum  of  a cone,  attached  to 
the  lower  part  of  the  triglyphs,  and  also 
to  the  lower  faces  of  the  mutule  in  the 
Doric  order. 

Lintel — A horizontal  member  spanning 


8 


MONUMENT  DEALER’S  MANUAL 


an  opening,  and  carrying  the  superincum- 
bent weight. 

Metope — The  space  between  two  trig- 
lyphs of  the  Doric  frieze,  which  the  an- 
cients often  adorned  with  carving. 

Mutule — A projecting  block  worked  un- 


der the  corona  of  a Doric  cornice,  corre- 
sponding to  the  modillion  of  the  Corinth- 
ian and  Composite  orders. 

Parabolic  Curve — A curve  formed  by  the 
intersection  of  the  surface  of  a cone  with 
a plane  parallel  to  one  of  its  sides.  Every 
point  in  it  is  equally  distant  from  a fixed 
point  called  the  focus  and  a fixed  straight 
line  called  the  directrix. 


Pediment — The  triangular  space  form- 
ing the  gable  of  a roof;  the  triangular 
space  over  a portico,  door,  window,  or  sim- 
ilar situation. 

Pilaster — An  upright  architectural  mem- 
ber right-angled  in  plan,  constructionally 


a pier,  but  architecturally  corresponding  to 
a column  with  capital,  shaft,  and  base. 
The  projection  from  the  wall  is  generally 
one-third  of  its  width  or  less. 

Rabbet — A longitudinal  channel,  groove 
or  recess,  cut  from  the  edge  or  face  of  one 
body,  generally  to  receive  another  mem- 
ber ; a groove  cut  for  a panel. 

Screen-wall — A dwarf  wall  or  partition 


APEX 


pywiipm 


?haft  ■ 


NOTE. 

THE  HEICHT  OF  THE. 
FTRAMIPIOH  5H°U1D  BL 
5AM  E PIM.EH5i°/1  AS 
LOWER  DIAMETER., 
THE  UPPER.  PIAMETER. 

sH"ulp  be.  m or 

L“WtR.  PIAMLTLR 


HEAP 
ML  CK 


B?WL 


PCDIttErtT 
.SOMETIMES  A 
GABLE 


CAP 

F l L LET  , 

BAW  FOR  -j — — -''ALy  <■  I ^ CYMATiC/M 


M°/f°GRAM 
OR  EMBLEM 


Y GRpovES 


5QUARE  GR°°VE 
3EAP 

S MOULDING 


1 

I 

1 

is-  Base 


PUHTH 


CAP 

EGG  4 DART 


THE  PARTS  OF  A MONUMENT  PROPERLY  NAMED. 


MONUMENT  DEALER’S  MANUAL 


9 


carried  up  to  a certain  height  for  separa- 
tion or  protection,  as  in  a church  to  sep- 
arate the  aisle  from  the  choir. 

Shaft — The  body  of  a column,  the  cylin- 
drical pillar  between  capital  and  base. 


Stylobate — A continuous  flat  band,  cop- 
ing or  pavement,  upon  which  the  bases  of 
a row  of  columns  are  supported. 

Triglyph — A repeating  ornament  in  a 
Doric  frieze,  consisting  of  a projecting 
rectangular  tablet,  divided  nearly  to  the 


top  by  two  parallel,  perpendicular  gutters, 
called  glyphs,  into  three  parts  or  spaces 
called  femora.  A half  channel  is  cut  upon 
each  of  the  perpendicular  edges  of  the 
tablet. 


Tympanum — The  recessed  face  of  a ped- 
iment, within  the  frame  made  by  the  up- 
per and  lower  cornices;  or  the  space 
within  an  arch,  and  above  a lintel  or  sub- 
ordinate arch  spanning  the  opening  below 
the  arch. 


ECHIHPS 
MUTULE  — GOTTA 
TRIGLYPH  • 
METOPE.  • 
FILLET  « TAEHIAC- 
REGL7LA 
CyflCAL  6UTTAE- 


>-BASE  er 
^ [ PILA5TER- 
~^\~STY  13  BATE  <; 
1 , § 


PLA/T-of  FP-°/tT  PART  OF  BUILPI/fG 

ILLUSTRATING  ARCHITECTURAL  TERMS. 
(See  Opposite  Page.) 


ARMY  AND  NAVY  INSIGNIA  FOR  MONUMENTAL  DECORATION. 


In  the  military  memorials,  both  public 
and  private,  that  will  be  erected  to  our 
soldiers  of  the  present  war,  the  emblems 
and  insignia  of  rank  will  take  indispensa- 
ble place  as  decorations. 

Many  of  these  are  so  admirably  suited 
to  monumental  decoration  that  their  use, 
especially  on  private  cemetery  memorials 
to  soldiers,  is  really  essential  to  the 
achieving  of  something  of  symbolic  sig- 
nificance. 

Realizing  the  importance  of  these  em- 


major  is  gold.  The  bars  on  captain’s  and 
first  lieutenant’s  shoulder  loops  are  silver 
and  the  single  bar  of  the  second  lieutenant 
is  gold. 

The  collar  insignia  illustrated  are  all  of 
bronze,  except  that  gold  letters  are  super- 
imposed over  the  bronze  insignia,  indicat- 
ing the  various  corps  of  the  medical  de- 
partment. 

The  hat  cord  is  the  most  readily  dis- 
tinguishable indication  of  the  branch  of 
service,  but  as  they  differ  only  in  color,  po 


blems  to  monumental  decoration  we  here 
present  to  the  trade  for  the  first  time  cor- 
rect drawings  of  practically  all  of  the 
army  emblems  and  insignia  of  rank. 
These  were  especially  drawn  for  stone 
carving  and  will  be  found  readily  adapted 
to  monumental  use. 

While  the  drawings  are  self-explana- 
tory, some  additional  details  regarding 
some  of  them  may  be  of  value.  The  in- 
signia of  rank  worn  on  the  shoulder  loops 
by  commissioned  officers,  bear  gold  or 
silver  emblems,  the  ornament  on  the  nar- 
row end  in  every  case  being  the  regulation 
bronze  army  button  bearing  the  coat  of 
arms  of  the  United  States.  For  all  grades 
of  generals  the  stars  are  of  silver.  The 
emblems  for  colonel  and  lieutenant  col- 
onel are  of  silver,  and  the  oak  leaf  of  the 


drawings  of  these  can  be  given ; the  col- 
ors are  as  follows:  General  officers,  all 

gold ; field  officers,  gold  and  black ; line 
officers,  gold  and  black;  reserve  officers’ 
training  camp,  red,  white  and  blue;  in- 
fantry, light  blue;  artillery  scarlet;  serv- 
ice school  detachment,  green;  cavalry,  yel- 
low ; engineer,  scarlet  and  white ; quarter- 
master corps,  buff ; ordnance,  black  and 
scarlet;  signal  corps,  orange  and  white; 
medical  department,  maroon  and  white; 
staff  departments,  black;  field  clerk,  silver 
and  black;  officers  of  voluntary  training- 
corps  and  reserve  militia,  gold  and  black ; 
men  of  the  volunteer  training  corps  and 
reserve  militia,  blue  and  white;  Y.  M.  C. 
A.,  steel  blue. 

The  badge  on  the  officer’s  garrison  or 
service  cap  is  a bronze  representation  of 


MONUMENT  DEALER'S  MANUAL 


11 


Chevrons  and  Specialty  Marks  Coast  Artillery 

☆ ☆ 


, — v»«cm^«uih » lujor  Ouster 

jer^eant  Major  junior  q rade  electrician 

Senior  ^rade 

^ ^ - 

((  \ J ))  f^adio  Sei^earit  /faster  G 

CUf  loader 


r (V  □ y1  Assistant 

Engineer  e*sir,'<  r 

lectriuan  Ser^ 
first  class 


Electrician  Serjeant  ffirs???Wt 


clati 


Casemate,  Observer 

Electrician  first  class 


Plotte 


C»  Ei  • e-f  Cox  $ warn 

Planted 


ob  Server  Gun  Gun  Gunner 

second  class  Commander  pointer  Mwe  Company 


Q£Q04 

is  clou  kScZL  &X?  &•  fe'te 

Gunwor  »,'h 


Collar  Insignia^  worn  by^  Enlisted  men 

S 


National  Regular  National  Cavalry  Artillery  Engingcers  Medical  Signal  Machine  aan 
Arm>  Army  Guard  Departmen  Corps  battalions 


injaniry  Field  Headquarters  Headquarters  Trench Nortor  Anti-aircraft  Quarlrrma^lr  Ordnance  r 

Clerk  oj^  brigades  a.  of  trains  organizations  Artillery  Corps  Corps  |l|f] Reserve  Mih' 


U.  S.  Marine  Corps 

Chevrons  and  Devices 


12 


MONUMENT  DEALER’S  MANUAL 


O 


e 1 INSIGNIA  OF  RANK 

Worn  on  Shoulder  Loops  by 

~Ol  fo\  fo 

'☆\  iM  h&\  /☆' 

☆ \ / ☆ \ / \ / ^ 


☆ 


HCWf 


fo\ 

n 

fol 

n 

JO 

10 1 

y 

jlM] 

y 

Oil 

Regular 

(Lg© 


Regular  Army  Officers  Reserve  Corps 


. L3 

National  Guard  

^FCAeVfi°S*rv.«  National  Ar*p/ 


Ord  I ritcr  peters  L 

nance  Corps  Cnajj 


Quarter- 

master 


COr^ 

E 


Engineer  Cor|?s  Enameer Corbs  Judoe  Advocate 
Dept  Quartermaster  Adjutant  ’ Gerirs  Dept 


Medical 


1 'Q 


Philippine 

Scou.t 


Inspedo^Genl's 


General  Staff 
Corps'1 


Aid  to 
Lieut.  Gent 


Aid  to 

/MajorOem 


Aid  to 
Brigadier  Gent 


Collar  Insignia  of  the  Subdivisions  of  the  Medical  Department 


Ambulance 

Corps 


Veterinary 

Corps 


Dental 

Corps 


Sanitary 

Corpr 


INSIGNIA  OF  THE  VARIOUS  RANKS  AND  BRANCHES  OF  THE  ARMY. 


MONUMENT  DEALER'S  MANUAL 


13 


,Ar  INSIGNIA  OF  RANK  , 
Worn  on  sleeves  of  overcoat 


☆ 


Cabtam  c^Coat 
m ■ . *GenferalSfoff  sleeve  , 

..First  . .Second  Corps  /tyrlnmt 
Lieat.Col oneL  Major  Captain  Lieutenant  Lieutenant 

AVIATION  INSIGNIA,  OFFICERS 

☆ 


Military  J anior  and  Reserve  Military  J unior and.  Reserve 

Aviators  /Military  Aviators  Aeronaut  Military  Aeronauts 

Aviation  Insignia  worn  by  Enlisted  Men 


Obs 


a 


a 


E n I i s t e d 
Aviat  or 


All  Enlisted.  Aviation 

/Men  AVecnanicisn  ... 

Chevrons  and  Specialty  Marks 

☆ ☆ ☆ 


First.  Color  Secant  C*U  W W 
Seigeant  Major  Seigeard/daior  Sergeant  Sergeant  r Quartermaster  /Master  hospital  blaster  Ensine/r  Mast*. 

a f\ .A  A.  Serjeant  Senior  Serjeant  Senior  grade  signal 

grade  Q.M.C.  /Vtcdieal  Engineers.  electricil 


leader 


blaster  Engineer  Quartermaster  Regimental  Meuided  battalion  

junior  grade  Sergeant  Q.M.C.  supply  sergeam  and  squadron,  , , . . , r , 

a ' Cn  ^ suppw  seigeant  Sergeant  Sergeant  Sergeant  oeraeant 

^ y\  r\  y\  -first  c,als  first  class  jir  St  class 

r/\.  nedical  Quartermaster  Engineers  Signal  Co r^j 

a©»%s^^  ill  «ll 


't 


Assistant  Band  Band  Sergeant  Ordnance  1 . — P ?)  — - 

bandleader  sergeant  corporal  bugler  Seroaant  Sergeant  - w - ^1)^  - I 

first  class  Oeraeant  Corporal  Sergeant  Corporal 

y yAy  'ordnance  Ordnance  Ordnance  Signal  ^Si^ndl^ 

illlP  cjiif  clip 

X 'SP'M-  '**%.  Jk  & -8  iff  a 

SSL.  ' FarrierMedwl  /ttc&iic  Mechanic  Saddler  WaQOhCK  Ir^arffrvj  Af'tillorvj  CGVQjrv  EfljSlIJfffS  rdfidflCC 


?fMdt  RJCkts 
Quart*  r master 


INSIGNIA  OF  THE  RANK  AND  OF  THE  VARIOUS  BRANCHES  OF  THE  ARMY. 


14 


MONUMENT  DEALER’S  MANUAL 


Collar  Devices  for  Line  Officers 


& <|f&5© 

☆ ☆ ☆ 

ft  ftft 

(^^0  * ☆ 

Admiral  of  the  Navy  Admiral 

Vice  Admiral 

f^ear  Admiral 

c||r 

Commodore  Captain 

Co  mmander 

Lie  lit  Commander 

fe^§IOO 

Q 

imf 

Collar  Devices  for  Staff  Officers 


Medical  Director 


UK 

Pay  Di  recto  i 


^ aa 


Ct\a-|>la.ti\ 


rrdf.csf  Mathematics  Naval  Constructor  Civil  Engineer  Dental  Officer 

Shoulder  Marks  for  Line  Officers 


A ☆☆A 


Admiral  o 


☆ 


☆ ☆☆☆ 


the  Navy 


☆☆☆ 


Aim  i ral 


Vice  Admiral 


Rear  Admiral 


Commodore 


☆ 


Cabtairy  Commander 


☆ 


☆ 


Lieiit.Commander  Lieatenan 


☆ 


•ft 


Lieut.  Junior 


Ensijry 


Insignia  of  Rank  of  Naval  Officers  worn  on  sleeve 


☆ 


☆ 


☆ 


☆ 


☆ 


☆ 


☆ 


Admiral oJHittiwy  Admiral  Vice  Admiral  Rear  Admiral  Commodore  Ca[?taii\ 


Commander  Lieut.  Comm. 


☆ 


Li<ut«nanT  Lieutenant  Junior  Ensujn  NluUh'p^n  IjTCL  Midshipman  ZtiAXL  j^itnne?'*  ^ /M^c^rult 

Distinguishing  Colors  on  the  sleeves  of  staff  Officers  of  different  grades 


Protot  Mathematics  Cival  Engineer  Naval  Constructor  Dental 

INSIGNIA  OF  RANK  AND  BRANCHES  OF  SERVICE  IN  UNITED  STATES  NAVY 


Pay 


MONUMENT  DEALER’S  MANUAL 


15 


Blue  Rating  Badges 


Chi«t  Bo ofo wain's  Mate  Guuincrs'Mate.  QouarTtrmas'ter 

Master- tit- Arms  First  Class  Stcond.  Class  Thiri  Class 


Collar  Devices  for  Warrant  Officers 


Shoulder  Marks  for  Warrant  Officers  and  Mates 


Specialty  Marks 


5tor«ke«|xr  (I'cfnT^ 


Hosbrtd 

WflJtr  Ttndtrs  Corps 


M iLSicians 

Specialty  and  Distinguishing  Marks 

AWlc  \sJLSS  IS  ^ 

Radio  0p< 


(*  \ Gufl-Cahtamu  Mark 

K'-r ; K ) r GojiTotnt«r  Gun  Pointer  n . . A S' 

Caiio  Qpertfor 


Commissary 
Stew  arts. 


S««jkm  Gunnc.r 


AMJJ-k 


Torpedoman 

INSIGNIA "OF  RANK  AND  OF  BRANCHES  OF  SERVICE  IN  UNITED  STATE58  NAVy. 


Nival  Rwrvcoutfon 


16 


MONUMENT  DEALER’S  MANUAL 


the  coat  of  arms  of  the  United  States.  En- 
listed men  are  permitted  to  wear  on  the 
cap  a disk  one  and  one-half  inches  in 
diameter  with  a raised  rim  encircling  the 
coat  of  arms. 

The  majority  of  the  navy  insignia  of 
rank  are  of  either  gold  or  silver  on  blue. 
The  shoulder  marks  for  line  officers  con- 
sist of  gold  stripes  and  stars  on  a blue 
badge  of  pointed  shape.  Officers  above 
and  including  that  of  commodore  have 
the  entire  epaulette  of  gold  with  stars 
and  anchors  of  silver.  The  sleeve  in- 


signia of  officers  are  practically  all  of 
gold. 

Staff  officers  wear  the  same  stripes  as 
the  line  officers  but  not  the  stars. 

The  marks  for  the  petty  officers,  war- 
rant officers  and  the  specialty  marks  re- 
produced here  are  practically  all  self- 
explanatory. 

There  is  no  distinguishing  emblem  for 
the  common  seaman,  but  the  general  em- 
blem for  the  navy,  illustrated  here,  would 
be  appropriate  for  a man  of  any  branch  or 
rank  in  the  navy. 


WEATHERING  AND  CARE  OF  BRONZE  WORK. 


We  have  a bronze  tablet  we  placed  on  a 
cement  vault  and  it  became  covered 
with  verdigris  once  and  we  sent  it  back 
to  the  manufacturers  and  they  cleaned  it 
and  shellacked  it  and  returned  it.  It  has 
been  up  about  two  years  the  last  time 
and  is  covered  again.  Is  there  anything 
we  can  do  to  remove  this  verdigris?  Is 
this  peculiar  to  all  standard  bronze? — 
J.  B.  M. 

It  is  to  be  expected  that  a cast  bronze 
tablet  would  become  covered  with  verdi- 
gris if  put  up  in  a very  damp  place.  Any 
alloy  of  copper,  whether  it  be  brass,  which 
consists  of  about  66  per  cent  copper  and 
the  remainder  tin  and  zinc,  or  standard 
statuary  bronze,  consisting  of  90  per  cent 
copper  and  10  per  cent  tin  and  zinc,  will 
form  a surface  color,  called  by  the  French 
“patine,”  according  to  the  nature  of  the 
chemical  applied  to  the  alloy.  Thus  sul- 
phur fumes  and  an  application  of  sul- 
phide of  potassium  will  quickly  cause  a 
reaction  on  the  surface  of  the  bronze, 
coloring  it  a dark  brown.  Statuary  and 
architectural  bronze  work  exposed  to  the 
atmosphere  of  our  cities'  in  which  there 
is  much  coal  smoke  quickly  turns  very 
dark. 

The  green  coating  on  bronze  is  pro- 
duced by  the  action  of  vinegar  or  sal  am- 
moniac. If  the  tablet  in  question  has 
become  covered  with  verdigris  it  would 
show  that  the  moisture  in  the  cement  vault 
is  impregnated  with  salts.  To  many  peo- 
ple this  surface  color,  whether  it  be  the 
brown  of  statuary  bronze,  or  the  green 
color  of  verdigris,  is  a distinct  advantage 
from  an  artistic  point  of  view.  For  ex- 
ample, the  Statue  of  Liberty  in  New  York 
harbor  has  under  the  influence  of  salt  air 
acquired  a beautiful  green  color.  Some 
practical  people,  thinking  that  a corrosion, 
a result  of  age,  considered  it  a species  of 
dirt  and  therefore  have  invoked  the  War 
Department  to  scrub  down  “Miss  Liberty” 
to  the  original  bronze  color,  all  of  which 
was  most  strenuously  opposed  by  those 
who  admire  the  softening  influence  of  time 
and  atmosphere  on  monuments,  buildings, 
statuary,  etc. 

If  your  correspondent  wishes  to  remove 
the  verdigris  from  the  bronze  tablet,  sim- 
ply let  him  scrub  it  down  with  white  sea 
sand  and  water  in  which  there  has  been 
dissolved  a small  quantity  of  sulphuric 
acid.  However,  perhaps  we  had  better 
give  you  a full  recipe  for  cleaning  bronze 


and  restoring  the  oxidized  statuary  finish. 
This  recipe  is  as  follows : 

First,  mix  potash  of  lye  with  hot  water. 
Apply  this  vigorously  with  a stiff  brush, 
also  using  white  sea  sand.  Repeat  this, 
rubbing  with  the  potash  and  sea  sand  un- 
til all  dirt  and  grease  are  removed ; then 
wash  with  clear  water  and  scrub  with  a 
“pickle”  composed  of  sulphuric  acid  (oil 
of  vitriol)  and  water,  one  pound  of  sul- 
phuric acid  to  a gallon  of  water.  Be  sure 
to  pour  the  acid  into  the  water,  and  not 
the  water  into  the  acid.  This  combination 
will  generate  considerable  heat.  Wait  un- 
til it  cools  before  using.  Scrub  the  tablet 
with  sea  sand  and  water,  then  scrub  with 
sulphuric  acid  pickle  until  all  discoloration, 
green  spots,  etc.,  are  removed  and  the  nat- 
ural bronze  appears.  Wash  off  the  pickle 
entirely  with  clean  water,  then  use  sea 
sand  freely.  The  bronze  should  then  be 
bright  clean,  the  color  of  a new  cent.  Then 
mix  one-half  pound  of  potassium  sulphide 
with  one  gallon  of  water.  This  forms  an 
oxidizing  fluid  which  will  stain  the  bronze 
to  a dark  color.  If  it  does  not  stain  quick 
enough  or  dark  enough,  use  more  of  the 
potassium  sulphide.  After  having  made 
the  first  application  of  oxidizing  fluid  to 
the  bronze  a light  stain  is  obtained.  This 
must  be  well  sanded  with  sea  sand  and 
washed  with  clean  water.  Repeat  the  ap- 
plications of  the  oxidizing  solution  and 
the  sanding  down  of  same  until  the  color 
is  brought  to  a uniform  dark  tone.  It  is 
preferable  that  the  water  which  is  used 
to  wash  down  the  bronze  after  the  appli- 
cation of  oxidizing  fluid  be  hot,  but  cold 
water  will  do.  Immediately  after  the  oxi- 
dizing fluid  is  applied  and  a satisfactory 
bronze  color  obtained  and  has  been  washed 
with  water,  use  tissue  paper  to  dry  off  the 
water.  When  thoroughly  dry  go  over  the 
bronze  with  a soft  cloth  dampened  with 
oil  (any  kind  of  oil  will  do).  These  solu- 
tions are  poison  and  should  be  destroyed 
when  work  is  completed.  Do  not  get  lye 
or  the  sulphuric  pickle  on  hands  or  clothes. 

To  prevent  a recurrence  of  the  staining 
of  the  tablet  by  verdigris,  referred  to  by 
your  correspondent,  some  little  attention 
should  be  paid  to  the  bronze  from  time  to 
time.  There  is  no  use  of  shellacking  the 
bronze  or  giving  it  a coat  of  varnish.  It 
must  be  rubbed  from  time  to  time  with 
an  oil-dampened  cloth.  If  this  is  not  done 
the  bronze  will  stain  and  the  above  treat- 
ment will  be  necessary  to  bring  it  back  to 


18 


MONUMENT  DEALER’S  MANUAL 


a good  condition.  The  statuary  in  our 
cities  should  be  scrubbed  down  with  lye 
and  all  the  surface  discoloration,  soot, 
grime  and  dust  removed  and  rubbed  with 
a soft  cloth  dampened  with  oil,  but,  of 
course,  under  no  circumstances  should  the 
sand  be  used  on  the  statuary,  for  this 
would  bring  it  down  to  the  raw  color  of 
the  metal.  Incidentally,  when  bronze  is 
set  up  it  seems  that  it  is  expected  to  retain 
a beautiful  color  ever  after,  and,  of  course, 
when  the  sculptor  is  all  through  he  cannot 
afford  to  keep  bronzes  in  condition,  and 
we  cannot  count  on  him. 

The  bronze  foundrymen  have  completed 
their  contract  in  casting  the  work.  No 
attention  can  be  expected  from  city  au- 
thorities, and  the  owners  of  fine  bronze 
work  never  think  of  making  an  expendi- 
ture for  proper  cleaning  and  care  which 
should  be  given  the  work  from  time  to 
time. 

One  of  the  beauties  of  bronze  is  the 
varied  coloring  of  the  surface  acquired 
by  exposure  to  the  weather  or  to  chem- 
icals. The  natural  color  of  the  metal  is 
a reddish  golden  hue,  the  color  of  a new 
bronze  cent.  Under  the  action  of  the  ele- 
ments this  golden  color  soon  darkens  by 
oxidization.  If  the  bronze  is  exposed  to 
sulphur  fumes  or  to  any  of  the  chemical 
forms  of  sulphur,  it  will  take  on  a brown- 

VERDIGRIS 

Our  experience  has  demonstrated  that 
bronze  work  set  on  cement,  limestone  or 
brick  work  which  is  set  in  lime-mortar  or 
cement  has  a tendency  to  take  on  verdi- 
gris. We  assume  that  this  effect  is  caused 
by  rain  water  running  down  over  the 
masonry  wall  and  continuing  over  the 
bronze  surface,  carrying  with  it  some 
chemical  quality  from  the  cement,  which, 
acting  on  the  copper,  produces  verdigris. 
We  have  never  investigated  this  question 
from  a chemical  standpoint,  but  simply 
know  it  to  be  a fact.  The  only  remedy 
we  can  suggest  for  avoiding  this  would 
be  to  have  the  bronze  cleaned  frequently. 
We  do  not  believe  any  shellac  or  lacquer 
would  permanently  protect  it,  although  an 
exterior  or  spar  varnish  applied  to  the 
bronze  after  cleaning  would  preserve  the 
finish  for  a longer  period,  but  would  give 
the  metal  a shiny  appearance  that  is  not 
considered  desirable.  By  many  architects 
and  artists  this  verdigris  coloring  is  re- 
garded as  one  of  the  beautiful  and  inter- 


ish  tint,  sometimes.,  so  dark  as  to  appear 
almost  black.  Thus,  in  our  cities,  sulphur 
in  the  coal  smoke  soon  turns  the  statuary 
practically  black.  The  green  color  on 
bronze,  sometimes  termed  “Verd-antique,” 
is  brought  out  by  the  action  of  salts,  vine- 
gar and  sal  ammoniac.  Bronzes  near  the 
seashore,  exposed  to  the  salt  air,  usually 
are  a beautiful  green  color.  An  example 
of  this  is  the  Statue  of  Liberty  in  New 
York  harbor.  These  surface  colors  of 
bronze  are  termed  by  the  French  “patinas.” 
It  matters  not  how  old  the  bronze,  the 
color  is,  like  “beauty,”  only  “skin  deep.” 
Scratch  it  ever  so  lightly  and  the  glowing 
golden  metal  shows  beneath.  Therefore 
in  cleaning  old  bronzes  on  monumental 
work  or  elsewhere,  one  should  be  careful 
not  to  abrade  or  scratch  the  surface  of 
the  bronze.  If  discolored  with  an  accu- 
mulation of  dirt,  soot  and  the  grime  of 
years,  this  may  be  removed  with  plain 
soap  and  water.  When  dry,  the  applica- 
tion of  a soft  cloth  dampened  with  oil  will 
restore  the  bronze  to  good  condition,  and 
the  further  application  of  an  oil-dampened 
cloth  at  long  intervals  will  bring  the  bronze 
finally  to  a condition  where  the  mellow 
tones  of  the  surface  coloring  will  delight 
the  connoisseur  and  lover  of  bronze  work. 

Wm.  Donald  Mitchell, 

Jno.  Williams  Bronze  Foundry. 

ON  BRONZE 

esting  effects  which  bronze  takes  on  with 
age.  Personally,  we  favor  the  antique 
effect  of  verdigris,  which  usually  blends 
beautifully  and  naturally  with  cement 
colors.  The  Gorham  Co. 

* * * 

From  our  experience  of  twenty-five 
years  in  the  casting  and  finishing  of  bronze 
tablets  and  monumental  work  in  general 
we  find  that  the  metal  called  bronze,  when 
made  up  of  the  best  quality  of  alloys 
mixed  in  correct  proportions  and  when 
properly  treated  and  erected  under  nor- 
mal climatic  condition,  will  never  show 
verdigris  discoloration.  Bronze,  like  other 
metals,  will  darken  when  exposed  to  the 
chemical  action  of  the  air,  but  this  nat- 
ural oxidation  or  patina,  when  obtained  in 
a normal  way,  gives  a far  more  artistic 
finish  to  the  object,  be  it  tablet,  door  or 
statue.  Our  experience  has  shown  that 
the  occurrence  of  verdigris  stains  on 
bronze  tablets  is  usually  due  to  one  of  two 
main  causes.  The  first  is  exposure  to  the 


MONUMENT  DEALER’S  MANUAL 


19 


salt-laden  air  which  comes  from  the  sea 
and  when  the  tablet  is  erected  in  fairly 
close  proximity  to  the  seashore.  It  is  well 
known  that  saline  solutions  will  create  ver- 
digris on  bronze  or  copper.  In  fact,  salt 
is  one  of  the  mediums  employed,  in  com- 
bination with  other  ingredients,  to  obtain 
the  genuine  green  patina  or  verdigris  ef- 
fect, so  much  admired  in  small  bronzes. 
When  verdigris  stains  are  due  to  above 
cause  there  is  practically  no  remedy. 
Lacquer  or  wax  applied  to  the  face  of  the 
tablet  will  retard  the  process  of  oxidation 
for  a short  time,  but  these  two  mediums 
will  in  their  turn  be  ultimately  destroyed, 
and  generally  in  so  uneven  a manner  that 
certain  parts  of  the  metal  will  oxidize 
more  quickly  than  others,  with  very  un- 
satisfactory and  inartistic  results. 

The  second  cause  is  improper  treatment 
of  the  bronze,  even  when  of  the  highest 
grade.  A bronze  casting,  after  coming  out 
of  the  mold  and  before  going  into  the  fin- 
isher's hands,  must  be  dipped,  an  artisan 
term  which  means  that  it  must  be  passed 
through  a bath  made  up  of  certain  propor- 
tions of  sulphuric  and  other  acids,  in  or- 
der to  take  away  the  scale  put  on  the 
metal  in  the  process  of  casting.  It  some- 
times occurs  that  bronze  castings,  even 
those  made  with  the  greatest  care,  are 
very  slightly  porous  in  spots.  In  the  dip- 
ping process  the  acids  naturally  enter 
these  pores,  and  unless  thoroughly  washed 
out  with  hot  water,  they  remain  in  the 
metal,  oxidizing  the  same,  and  are  subse- 
quently brought  out  after  exposure  to  the 
weather.  For  this,  the  remedy  is  obvious 
and  lies  entirely  in  the  manufacturer's 
hands. 

Still  another  cause  for  the  unsightly  dis- 
coloration so  often  seen  on  bronze  tablets 
lies  in  the  very  poor  quality  of  the  mate- 
rials used  in  making  up  the  bronze.  There 
are  founders,  unfortunately,  who  are  not 
at  all  particular  as  to  the  composition  of 
their  bronze.  Everything  short  of  rusty 
nails  is  thrown  into  the  crucible,  and  the 
result  is  a mixture  in  no  way  connected 
with  metallurgy  and  from  which  no  sat- 
isfactory results  can  be  expected.  The 
most  distressing  part  of  it  is  that  in  manjr 
cases  this  is  done,  not  so  much  through 


ignorance  as  through  a desire  for  larger 
gains.  This  emphasizes  the  necessity  of 
purchasing  bronze  work  from  reliable 
houses  and  insisting  upon  the  best  quality 
of  material  only. 

In  the  case  stated  by  your  correspond- 
ent, if  the  trouble  is  not  due  to  one  of  the 
causes  mentioned  above,  there  must  be 
something  chronically  wrong  with  the  tab- 
let and  it  seems  to  us  as  though  the  only 
remedy  would  lie  in  casting  an  entirely 
new  one.  Verdigris  is  more  troublesome 
than  almost  any  other  kind  of  stain  and 
harder  to  eradicate,  as  it  eats  into  the 
metal.  Stains  of  this  character  should  be 
rubbed  off  with  a mixture  of  powdered 
pumice  stone  and  water,  applied  with  a 
stiff  brush.  Pumice  stone  possesses  cut- 
ting qualities  which  will  destroy  almost 
any  kind  of  stain,  and  although  this  proc- 
ess will  leave  bright  spots  where  the  stains 
first  appeared,  they  will  gradually  darken 
after  they  have  been  exposed  to  the  action 
of  the  air  for  a sufficient  lapse  of  time. 

It  is  possible  that  the  verdigris  stains 
complained  of  by  your  correspondent 
might  be  due  to  the  nature  of  the  cement 
to  which  the  tablet  is  affixed.  If  the  ce- 
ment contains  lime  or  other  substances 
of  like  nature,  it  would  be  apt,  through 
moisture  or  rain,  running  from  the  cement 
on  the  tablet,  to  cause  the  trouble  referred 
to.  We  offer  this  as  a suggestion  which 
it  might  be  well  for  your  correspondent  to 
follow  up. 

Paul  E.  Cabaret  & Co. 

* * * 

In  regard  to  verdigris  on  bronze,  bronze 
left  to  the  elements  will  take  on  more  or 
less  of  this  character,  depending  a great 
deal  on  atmospheric  conditions.  Peculiar- 
ities of  trees,  climate  or  water  in  the  im- 
mediate vicinity  often  influence  bronze 
to  produce  effects  in  some  instances  very 
singular.  Apart  from  these  considerations, 
and  apart  from  the  rules  for  compounding 
bronze,  and  so  on,  there  are  many  other 
influences  that  give  character  to  bronze,  as 
may  be  witnessed  in  the  widely  different 
appearance  of  various  works  in  bronze 
when  exposed  to  outdoor  conditions. 

American  Art  Bronze  Foundry. 


REMOVING  STAINS 


FROM  BRONZE  DOORS. 


A recipe  for  removing  stains  caused  by 
dogs  on  bronze  vault  doors  is  given  as 
follows  by  Paul  E.  Cabaret  & Co.,  New 
York:  “If  the  stains  are  due  to  the  cause 

mentioned,  there  is  only  one  way  to  re- 
move them,  and  that  is  to  rub  them  over 
with  powdered  pumice  stone  and  water. 
This  will  of  course  leave  bright  spots  after 
the  work  is  done,  but  these  spots  will 
eventually  turn  dark  again  to  match  the 
rest  of  the  doors.  If,  however,  it  is  de- 
sired to  darken  these  spots  after  the  stains 
have  been  removed,  a mixture  of  sulphur 
when  dissolved  in  water,  not  too  strong, 
and  applied  with  a rag  or  a brush,  will 


cause  the  spots  to  darken.  We  would 
suggest,  however,  that  the  spots  be  left  to 
darken  naturally  through  the  chemical  ac- 
tion of  the  air. 

If  acid  has  eaten  into  the  bronze,  the 
only  way  to  remove  the  stains  would  be 
to  file  out  the  spots.  If,  however,  they 
are  only  surface  stains,  they  can  be  re- 
moved with  a mixture  of  rotten  stone  and 
oil  rubbed  on  with  a rag,  care  being  taken 
to  remove  the  oil  when  the  spots  have 
been  eradicated.  If  the  spots  are  hard 
to  remove,  the  best  way  would  be  to  rub 
them  first  with  fine  powdered  pumice 
stone  and  water  and  finish  off  with  the 
rotten  stone  and  oil  mixture. 


CLEANERS  AND  STAIN  REMOVERS 


CLEANING  AND  PRESERVING 
OLD  MONUMENTS. 

The  cleaning  and  preservation  of  old 
monuments  is  a matter  of  much  impor- 
tance in  cemeteries  of  any  age  and  is  sure 
to  present  itself  to  every  cemetery  in  a 
more  or  less  acute  form  sooner  or  later. 
Monument  dealers  have  in  a number  of 
instances  made  a business  of  resetting  and 
repairing  stones  in  old  cemeteries  and 
might  profitably  give  attention  to  experi- 
menting with  the  cleaning  of  old  monu- 
mental work  and  the  rehabilitating  of  an- 
cient cemeteries  generally. 

Frequently  when  marble  is  exposed,  as 
in  a cemetery,  where  it  is  more  or  less 
sheltered  by  trees,  it  is  disfigured  by 
lichens  and  other  vegetable  growth. 

In  many  instances  this  growth  has  died 
and  become  brown  or  black  in  color.  Prof. 
F.  P.  Dunnington,  of  the  department  of 
chemistry  of  the  University  of  Virginia, 
informs  us  that  all  such  discolorations  may 
be  readily  removed  by  soda  lye  of  moder- 
ate strength,  about  5 per  cent.  That 
which  is  rotted  is  disolved  and  the  re- 
mainder is  soon  distintegrated. 

Prof.  Dunnington  has  made  careful  ex- 
periments with  marble  cleaning  solutions 
and  had  occasion  to  give  thorough  tests 
to  his  preparations  in  cleaning  the  marble 
stones  in  the  little  cemetery  at  Charlottes- 
ville, Va.,  where  the  university  is  located. 

His  method  of  preparing  and  using  the 
solution  mentioned  was  as  follows : A 

box  of  concentrated  lye,  containing  about 
twelve  ounces  of  caustic  soda,  is  dis- 
solved in  a two-gallon  bucket  of  water. 
Spread  this  over  the  stone  with  a small, 
cheap  scrubbing  brush,  made  with  vege- 
table fiber,  preferably  provided  with  a 
handle  so  as  to  avoid  getting  the  lye  upon 
the  hands,  the  clothes  or  the  shoes.  After 
ten  minutes  or  more  pour  water  over  the 
stone  to  wash  off  most  of  the  lye  and  then 
rub  it  a little  with  the  brush,  using  some 
sand,  if  necessary,  and  the  stain  will  be 
removed. 

Of  course,  this  liquid  has  no  effect  upon 
the  stone  itself  and  is  easily  washed  away. 
As  for  the  wash  falling  upon  the  ground, 
it  will  improve  rather  than  harm  any  grass 
or  other  plants.  Should  the  lye  remain 
upon  the  skin,  it  may  occasion  an  ugly 
sore.  If  splashed  upon  the  clothing,  the 
prompt  application  of  a solution  of  sal 


ammoniac  will  prevent  corrosion  of  the 
goods.  In  his  work  this  treatment  cost 
about  25  cents  for  each  stone. 

Bellefontaine  Cemetery,  of  St.  Louis, 
has  also  given  much  time  and  expenditure 
to  conducting  experiments  for  cleaning 
monuments,  and  has  recently  issued  a cir- 
cular which  they  have  sent  to  monument 
makers  and  cemeteries. 

In  addition  to  the  method  of  Prof.  Dun- 
nington, Prof.  J.  W.  Mallett,  of  the  Uni- 
versity of  Virginia,  describes  the  following 
experiments  made  by  him  at  the  request 
of  this  cemetery: 

I have  finished  a series  of  experiments 
with  the  samples  of  stones  for  monuments 
sent  me  by  you  at  the  beginning  of  last 
month.  It  is,  of  course,  impossible  to 
compress  into  a few  weeks  a full  repro- 
duction of  the  conditions  affecting  stone 
through  a long  succession  of  years.  But 
I think  you  may  with  best  prospects  of 
success  treat  the  materials  you  have  to 
deal  with  by  brushing  them  over  carefully 
with  a strong  solution  of  silicate  of  soda, 
also  commercially  known  as  “soluble 
glass”  or  “water  glass.”  This  can  best  be 
bought  in  an  already  dissolved  condition, 
which  should  be  clear  and  colorless,  or 
almost  entirely  free  from  color.  It  should 
be  applied  of  a consistency  like  that  of 
rather  thin  ordinary  oil  paint.  If  orig- 
inally as  viscid  as  thick  molasses,  a little 
water  may  be  added  to  bring  it  down  to 
the  proper  consistency.  To  be  efficient,  it 
is  of  the  greatest  importance  that  the  ap- 
plication shall  be  made  when  the  stone  is 
as  dry  as  possible,  preferably  after  a pro- 
tracted period  of  warm  weather.  In  the 
case  of  all  limestones,  Nos.  1 to  6,  inclu- 
sive, of  your  samples,  this  is  the  only 
solution  to  be  used;  but  in  the  case  of 
No.  7,  sandstone  from  Warrensburg,  Mo., 
after  the  silicate  of  soda  has  soaked  into 
the  surface,  and  dried,  it  should  be  fol- 
lowed by  a solution  (of  the  same  thin 
paint  consistency)  of  chloride  of  calcium. 
The  chloride  can  be  bought  in  solid  form, 
should  be  selected  free  from  any  distinct 
color,  and  should  be  dissolved  in  a small 
quantity  of  water  to  give  the  right  con- 
sistency. Both  the  materials  mentioned 
are  cheap,  and  easily  procurable  from  any 
dealer  in  chemicals.  No  marked  effect  on 
the  appearance  of  the  stone  is  to  be  feared, 
but  when  both  chemicals  are  used  there  is 


00 


MONUMENT  DEALER’S  MANUAL 


liable  to  be  a slight  frost-like  efflorescence 
on  the  surface,  which  is  gradually  washed 
away  by  subsequent  rains.  The  Warrens- 
burg  stone  is  so  deficient  in  cohesive 
strength  that  its  use  should  be  avoided,  I 
think,  for  the  future. 

As  an  alternative  for  the  above  treat- 
ment with  silicate  of  soda,  which  I am 
inclined  to  believe  you  will  find  most  effi- 
cacious, you  might  try  brushing  over  the 
stone  with  a nearly  saturated  solution  of 
hard  paraffine  in  gasoline.  With  the  par- 
affine and  gasoline  I have  (the  latter  boil- 
ing at  about  45  to  50°  C.),  and  at  the  tem- 
perature of  the  last  two  or  three  weeks 
(about  20°  C.  indoors),  such  a solution 
requires  about  12  or  13  ounces  of  paraffine 
to  the  gallon  of  gasoline.  In  this  case 
also  it  is  of  the  first  importance  that  the 
application  be  made  when  the  stone  is 
thoroughly  dry  and,  as  far  as  possible, 
heated  by  the  sun’s  rays. 

Whichever  of  the  two  methods  be 
adopted,  it  will  be  necessary  to  renew  the 
application  of  the  preservative  at  consider- 
able intervals.  If  the  first  brushing  over 
be  carefully  done,  with  the  stone  in  proper 
condition,  it  will  probably  not  be  necessary 
to  repeat  the  treatment  short  of  at  any 
rate  a year  or  two.  It  will  be  well  before 
applying  either  preservative  to  give  the 
surface  of  the  stone  a good  scrubbing  with 
soap  and  water  (to  remove  soot,  etc.), 
leaving  ample  time  for  drying  after- 
wards.” 

Prof.  E.  H.  Keiser,  of  Washington  Uni- 
versity, St.  Louis,  writes  as  follows  of  a 
method  he  has  developed : 

On  September  17,  last,  you  wrote  me  in 
regard  to  finding  a preservative  for  marble 
or  other  stone,  or  granite,  which  could  be 
applied  to  monuments,  etc.,  in  the  cemetery 
to  prevent  their  disintegration  by  the  action 
of  the  elements.  Shortly  after  receiving 
your  letter  I began  some  experiments  for 
the  purpose  of  comparing  differing  pre- 
servative agents.  I coated  slabs  of  marble 
with  soluble  glass  or  sodium  silicate,  with 
cement  filler  and  spar  varnish.  Then  I ex- 
posed these  slabs  on  the  roof  of  the  chemi- 
cal laboratory  to  the  action  of  the  weather. 
During  the  winter  the  slabs  were  repeatedly 
covered  with  ice  and  snow,  then  thawed  out 
and  frozen  again  and  again.  Thus  far  the 
cement  filler  and  spar  varnish  have  stood 
the  best.  The  sodium  silicate  has  been 
pretty  well  washed  and  worn  away.  The 


varnished  slab  is  practically  as  smooth  and 
glossy  as  when  first  exposed. 

I would  recommend  one  coat  of  water- 
proofing cement  filler,  a thin  varnish  made 
by  the  Sherwin-Williams  Co.,  and  two 
coats  of  spar  varnish  made  by  the  same 
company. 

CEMENT  STAINS  ON  GRANITE. 

Can  you  suggest  a remedy  for  removing 
the  discoloration  from  a granite  building 
that  is  apparently  stained  by  the  absorp- 
tion of  the  cement?  The  granite  was 
backed  up  with  concrete  made  of  cement, 
sand  and  gravel  and  set  while  the  latter 
was  very  moist. 

The  Atlas  Portland  Cement  Co.  recom- 
mend : “A  weak  solution  of  hydrochloric 

acid,  say  one  part  of  acid  to  forty  parts  of 
water,  used  as  a wash,”  which  they  believe 
will  remove  it. 

“HURRICANE”  CLEANER. 

“A  couple  of  years  ago  I bought  a gran- 
ite-cleaning recipe  from  a man  traveling 
through  the  country,  whose  name  I cannot 
recall.  I have  lost  the  recipe  since  and  am 
writing  you  to  ascertain  whether  you  could 
inform  we  where  I could  obtain  the  same 
recipe.  Hydrofluoric  acid  is  the  main 
chemical;  the  rest  of  ingredients  I have 
forgotten.” 

You  evidently  refer  to  the  formula  known 
as  “Buskey’s  Hurricane  Cleaner,”  and  we 
reprint  from  an  old  issue  of  Monumental 
News  some  correspondence  regarding  this 
preparation : 

In  your  December  issue  you  have  an  in- 
quiry regarding  the  chemical  used  in  the 
so-called  “Hurricane  Cleaner.”  It  is  hydro- 
fluoric acid.  Believing  that  anything  that 
will  benefit  the  trade  should  be  passed 
around,  I enclose  the  formula : 

One  part  common  ammonia ; one  part 
cider  vinegar;  one  part  sal  soda ; one  part 
saleratus;  one  part  water;  three  parts  hy- 
drofluoric acid  (25  per  cent  strength).  If 
the  acid  is  over  25  per  cent,  add  more  wa- 
ter to  reduce  it. 

To  mix,  put  one  part  of  each  ingredient 
in  an  open  bucket,  except  chemical,  then 
slowly  add  the  chemical.  Do  not  stir  it. 
After  the  boiling  has  stopped  put  in  stone 
jug  and  cork. 

To  use,  paint  on  dry  stone  with  brush. 
Use  plenty  of  water  to  wash  off  with;  keep 
fingers  out  of  it.  N.  Y.  Dealer. 


JAVEL  WATER  AND  ITS  USE. 


“Javel”  or  javelle  water,  used  for  remov- 
ing stains  from  marble,  is  a solution  of 
hypochlorite  of  potash  having  a discolorant 
action.  The  formula  is  as  follows  : 


of  the  manufacture  for  acids  and  mineral 
salts. 

The  best  way  to  use  Javel  water  for 
cleaning  monuments  is  to  experiment  with 


2 O H + Cl2 

(Potash)  (Chlorine) 

The  following  chloruret  is  another : 

2 O H + Cl2  = 

Potash  Chlorine 

That  chloruret  is  very  movable  and  left 
under  the  influence  of  the  weakest  acids 
its  chlorine  acts  as  an  oxidizer  and  de- 
stroys the  colors. 

The  javel  water  (improperly  javelle) 
takes  its  name  from  an  ancient  village  of 
the  suburb  of  Paris,  now  incorporated  in 
the  city. 

An  isolated  mill,  near  the  Seine  river, 
called  the  “Moulin  de  Yavel”  (yavel  mill), 
was  the  origin  of  that  locality,  which  be- 
came of  some  importance  only  in  1777, 
after  the  building  by  the  Count  of  Artois 


Cl  O K 
Hypochlorite 
of  Potash 


Javel 

Water 


Cl  O K ) 

Hypochlorite  > 
of  Potash  J 


+ K Cl  + H20 

Chloruret  of  Water 
Potassium 


it,  either  pure  or  diluted  with  water.  If 
for  cleaning  the  whole  face  of  a stone  not 
badly  soiled  it  ’is  not  necessary  to  use  the 
Javel  strong  but  well  diluted,  and  should 
ink  or  other  discolorations  still  remain 
after  the  first  washing,  such  spots  can 
again  be  treated  with  a stronger  solution 
or  even  of  full  strength.  It  is  a cheap  ma- 
terial and  experiments  can  be  made  on  a 
small  piece  of  marble  and  the  results  duly 
noted,  the  idea  being  that  in  using  Javel 
water  one  can  gather  one’s  own  experience 
in  its  use  and  possibilities. 

Chas.  G.  Canivet. 


MARBLE  CLEANERS. 


To  remove  stains  and  discolorations 
from  marble  boil  together  a quarter  of  a 
pound  each  of  soft  soap  and  powdered 
whiting  and  soda  for  twenty  minutes. 
Spread  it  on  the  marble  to  be  cleaned  for 
twelve  hours.  Then  wash  it  off  with  clear 
water.  For  the  ordinary  washing  of  mar- 
ble use  ammonia  and  water  in  place  of 
soap  suds.  To  polish  black  marble,  wash 
it  in  cold  soap  suds,  dry  it  with  an  old 
cloth  and  then  rub  it  at  least  an  hour  with 
flannel  spread  with  white  wax.  To  remove 
iron  stains  from  white  marble,  try  lemon 
juice.  If  an  oil  stain  disfigures  the  sur- 
face, apply  to  it  common  clay  saturated 
with  benzine.  Another  stain  remover  is 

made  of  two  parts  of  common  soda  and 
of  powdered  pumice  stone  and  one  of 

powdered  chalk.  Sift  it  through  thin  mus- 
lin, mix  it  to  a paste  with  water  and  spread 
it  over  the  marble.  After  ten  hours  wash 
it  off  with  Soap  suds. 

* * * 

To  Remove  Stains  from  Marble — Sift 

through  a fine  sieve  two  parts  of  soda,  one 
of  pumice  stone  and  one  of  finely  pow- 
dered chalk,  and  mix  them  into  a paste 
with  water.  Rub  this  well  all  over  the 
marble  and  the  stains  will  be  removed ; 


then  wash  it  with  soap  and  water  and  a 
bright  polish  will  be  produced. 

To  Remove  Stains  from  Marble,  No.  2 — 
Clean  the  marble  with  diluted  muriatic 
acid,  or  warm  soap  and  vinegar.  Dissolve 
in  hot  water  (half  gallon)  IV2  pounds 
of  potash;  add  one  pound  of  virgin  wax, 
boiling  the  mixture  for  half  an  hour.  Al- 
low it  to  cool,  when  the  wax  will  come  to 
the  surface.  Put  the  wax  in  a mortar  and 
triturate  it  with  a marble  pestle,  adding 
soft  water  to  the  mixture  until  it  becomes 
a paste.  This  laid  on  the  marble  and 
rubbed  when  dry  with  a woolen  rag  gives 
a good  polish. 

* * * 

To  clean  paint  from  white  marble  make 
a mixture  of  one  part  pearlash,  three  parts 
lime.  Slake  the  lime  with  water  and  add 
the  pearlash,  then  reduce  with  water  to 
the  consistency  of  stiff  paint.  Apply  with 
a fibre  brush.  When  the  paint  is  softened 
use  a stiff  brush  to  remove  it  and  rinse 
with  plenty  of  clean  water. 

To  remove  any  discoloration  from  the 
oil  in  the  paint  boil  together  one-quarter 
of  a pound  yellow  soap,  one-fourth  pound 
whiting  and  one  ounce  of  washing  soda  in 
water  for  about  15  minutes  to  a consistency 


24 


MONUMENT  DEALER'S  MANUAL 


of  extra  thick  cream,  and  rub  on  the  mar- 
ble while  hot.  Wash  off  the  next  day  and 
if  necessary  repeat  the  operation.  Finally 
polish  with  coarse  flannel.  To  remove 
ink  spots  from  marble  dissolve  one  ounce 
of  antimony  trichloride  and  two  ounces  of 
oxalic  acid  in  one  quart  of  water.  Add  to  the 
solution  enough  flour  to  make  a paste.  Apply 
to  the  spots  and  leave  it  on  for  several 
days,  when  the  ink  will  probably  be  drawn 
out  of  the  marble. 

* * * 

In  the  South,  where  a great  deal  of  mar- 
ble is  used,  the  stone  is  often  disfigured  by 
a vegetable  growth,  and  in  many  instances 
this  growth  has  died  and  become  brown 
or  black  in  color.  The  monumental  men 
remove  these  discolorations  by  soda  lye,  a 
five  per  cent  solution.  The  growth  which 
is  rotted  is  dissolved  and  the  remainder  is 
soon  disintegrated.  In  practice  a box  of 
concentrated  lye,  containing  about  twelve 
ounces  of  caustic  soda,  is  dissolved  in  two 
gallons  of  water.  The  mixture  is  spread 
over  the  stone  with  a small,  cheap  scrub- 
bing brush  made  with  vegetable  fibre,  pref- 
erably made  with  a handle  so  as  to  avoid 
getting  the  lye  upon  the  hands,  the  clothes 
or  the  shoes.  After  ten  minutes  or  more 
water  is  poured  over  the  stone  to  wash  off 
most  of  the  lye  and  then  the  stone  is  rubbed 
a little  with  the  brush,  some  sand  being- 
used  if  necessary.  Almost  invariably  the 
stain  is  removed.  This  liquid  has  no  effect 
on  the  stone  itself,  and  is  easily  washed 
away.  It  improves  rather  than  harms  any 
grass  or  other  plants,  but  if  it  remains  on 
the  skin  it  is  apt  to  cause  an  ugly  sore. 
If  splashed  upon  the  clothing  the  prompt 
application  of  sal  ammoniac  will  prevent 
corrosion  of  the  goods. 

In  some  southern  yards  when  polished 
marble  becomes  stained  it  is  cleared  with- 
out destroying  the  polish  by  applying  a 
paste  made  of  equal  parts  by  weight  of  ox 
gall,  powdered  soap  and  pipe  clay,  or  fine 
china  clay,  mixed  with  turpentine.  A thick 
coating  is  applied  to  the  stained  marble 
and  when  dry  is  rubbed  off  and  the  marble 
washed  with  warm  water.  If  badly  stained 
the  marble  is  given  a second  application. 

* * * 

Sapolio,  a little  powdered  pumice  stone, 
a good  quantity  of  water  and  a stiff  scrub 
brush  generally  cleans  marble.  To  clean 
around  raised  letters,  mouldings  and  carv- 
ings use  lump  pumice  stone  and  water. 
Break  off  small  pieces,  using  a sharp  edge 
whenever  possible.  To  get  in  the  crevices 


of  carvings  whittle  a piece  of  wood  down 
to  a thin  square  end,  put  powdered  pumice 
stone  in  the  crevice  and  rub  with  the  stick. 
Stains  can  partially  be  removed  by  putting 
on  a large  batch  of  slack  lime  three  or 
more  inches  thick  on  the  stain  and  leaving 
for  one  day.  This  generally  draws  the 
stain  out.  To  use  acid  one  is  nearly  sure 
to  make  the  marble  yellow.  For  a deep 
stain  the  sure  way  is  to  cut  a dump  in  the 
marble,  gradually  bringing  the  edge  of  the 
cutting  to  the  surface  at  a width  of  eight 
or  more  inches.  If  a dump  has  been  cut 
to  this  width  it  will  rarely  be  noticed. 

* * * 

“In  regard  to  removing  phosphoric  acid 
stains  from  marble,  we  have  experimented 
a little  to  ascertain  just  what  the  char- 
acter of  the  stains  referred  to  could  be. 
We  find  on  experimenting  with  this  acid 
that  it  apparently  eats  into  the  marble,  de- 
stroying the  finish  and  leaving  the  surface 
rough  and  raw.  There  is  no  way  of  rem- 
edying this  difficulty  where  it  has  occurred 
except  by  refinishing  the  slabs.  The  ma- 
terial which  we  used  did  not  show  any 
discoloration.  It  may  be  some  other  for- 
eign matter  occurred  upon  the  places 
where  the  acid  had  removed  the  gloss. 
Very  frequently,  if  an  application  of  high- 
grade  gasoline  is  applied  to  a stain  or 
soiled  marble,  it  will  remove  discolora- 
tion. This  should  be  applied  on  such  ma- 
terial with  clean  white  cotton,  allowing 
the  waste  to  remain  upon  the  spot  until 
the  gasoline  has  evaporated.  A paste 
made  from  chloride  of  lime  and  applied 
to  the  stains  will  frequently  remove  them. 
We  are  sorry  that  we  cannot  give  you 
anything  more  definite.” 

Vermont  Marble  Co. 

“Plaster  of  paris  and  chloride  of  lime 
mixed,  applied  to  the  stains  on  marble,  are 
the  only  things  we  know  of  that  will  take 
them  out.  Some  stains  in  marble,  how- 
ever, can  never  be  taken  out.” 

Tompkins-Kiel  Marble  Co. 

The  Vermont  Marble  Company  has  is- 
suel  a very  handy  and  useful  little  pocket- 
size  memorandum  book  which  contains 
several  pages  of  valuable  practical  infor- 
mation about  monumental  work  that  take 
the  place  of  the  general  information  usual- 
ly found  in  such  books.  We  quote  the  fol- 
lowing useful  hints  from  the  book : 

“For  nearly  all  stains,  except  those  re- 
sulting from  oil,  use  javel  water.  This 
is  a simple  preparation  made  from  chlor- 


MONUMENT  DEALER’S  MANUAL 


25 


ide  of  lime  and  washing  soda.  It  can  be 
obtained  at  any  drug  store.  Frequent  and 
copious  applications  of  this  liquid  will 
usually  restore  the  marble  to  its  natural 
condition.  It  may  also  be  used  to  good  ad- 
vantage when  dirt  has  become  hardened 
on  the  surface. 

“Some  few  things  like  iron  rust  and 
creosote  cannot  be  erased.  Others  are  con- 
quered with  difficulty  if  allowed  to  stand 
for  a long  time.  Therefore,  if  spots  of 
any  kind  are  discovered,  they  should  be 
removed  at  once  if  possible. 

“When  the  stain  comes  from  oil,  gaso- 
line of  good  quality  should  be  used.  Be 
sure  the  gasoline  is  of  the  best  grade, 
otherwise  the  result  may  be  disappointing. 
Saturate  cotton  waste  or  blotting  paper 
and  press  it  firmly  down  on  the  marble. 
Allow  it  to  remain  for  a day  or  two  if 
necessary,  wetting  it  often  with  gasoline. 
The  process  may  be  accelerated  by  the  in- 
troduction of  sunlight  or  some  form  of 
artificial  heat. 

“There  is  nothing  better  than  javel 
water  for  ordinary  stains,  or  than  gasoline 
for  oil  spots.  When  these  prove  ineffective 
the  only  thing  to  do  is  to  set  the  monu- 
ment out  in  the  open  and  trust  to  the  ac- 
tion of  the  sun  and  frost.  This  will  some- 
times succeed  when  all  else  fails. 

“Every  cemetery  memorial  should  be 
cleaned  with  javel  water  once  or  twice 
a year,  and  all  the  dirt  and  moss  that  has 
started  to  collect  should  be  removed.  If 
foreign  substances  are  allowed  to  accumu- 
late, they  absorb  moisture.  This  tends  to 
roughen  the  surface  and,  in  turn,  invites 
the  absorption  of  more  moisture.  Keep 
the  marble  smooth  and  uncoated  and  this 
damage  will  be  averted. 

“The  monument  that  has  once  become 
roughened  can  best  be  restored  by  thorough 
treatment  with  pumice  stone  or  fine  grit. 
It  is  a practice  more  or  less  general  to  use 
as  a renovator  a weak  solution  of  muriatic 
acid.  This  should  never  be  permitted.  The 
immediate  results  may  appear  to  justify  the 
treatment,  but  in  the  end  you  will  find  that 
the  stone  has  been  greatly  injured.” 

4s  5K 

Julius  Lubking,  1507  East  Baltimore 
street,  Baltimore,  finds  that  about  the  best 
and  cheapest  way  to  remove  weather, 
wood  and  sacking  stains  from  marble  is 
to  apply  a good  coating  of  whitewash, 
while  it  is  still  hot  from  the  slaking  proe- 
cess.  He  states  that  this  will  do  the  work 


within  a very  few  hours  if  the  stains  are 
not  too  deeply  set;  in  those  cases,  a sec- 
ond or  perhaps  a third  application  will 
be  necessary. 

* * % 

MISCELLANEOUS  RECEIPTS  FOR 
CLEANING. 

There  sometimes  arise  occasions  where 
a little  special  knowledge  is  imperative, 
and  we  here  publish  the  following  for- 
mulas, receipts  and  shop  wrinkles  for  the 
easy  accomplishment  of  certain  unusual 
tasks.  These  items  are  recommended 
by  persons  who  have  tested  them  out,  and 
while  we  cannot  vouch  for  their  reliabil- 
ity, they  will  assuredly  be  worth  trying. 

To  Clean  Brass  and  Copper. — With  suf- 
ficient water  to  make  a paste  combine  1 oz. 
oxalic  acid,  6 oz.  rotten  stone,  V%  oz.  gun 
arabic,  all  in  powder,  and  1 oz.  sweet 
oil.  Apply  a small  portion,  and  rub  dry 
with  a flannel  or  leather. 

Cleaning  Brass  Inlaid  Work.  — Equal 
parts  of  tripoli  and  linseed  oil  make  an 
excellent  polish  to  be  applied  with  a piece 
of  felt. 

For  Polishing  Hardwood  Cases. — A 
paste  made  of  rotten  stone,  a pinch  of 
starch,  sweet  oil  and  oxalic  acid,  mixed 
with  water,  is  excellent. 

LTnslacked  lime  is  a capital  thing  to  clean 
steel  with.  Steel  tools  and  implements 
kept  in  quicklime  will  seldom  rust. 

For  removing  stains  : Mix  equal  parts  by 
weight  of  fresh  ox  gall ; pulverized  soap  and 
pipe  clay  (kaolin)  with  enough  turpentine  to 
produce  a thick  paste.  Apply  to  the  stain 
in  a heavy  layer,  which  when  dry  remove 
and  wash  the  spot  with  warm  water.  Fresh 
•ox  gall  furnished  by  any  beef  butcher 
should  always  be  used,  the  prepared  article 
has  not  the  proper  strength. 

An  effective  cleanser  and  polish : Dis- 

solve four  ounces  of  sal  soda  in  as  little 
water  as  possible.  Make  a paste  with  this 
solution  by  adding  two  ounces  of  levigated 
pumice  and  two  ounces  of  fine  chalk  to  it. 
If  the  pumice  and  chalk  do  not  unite 
readily  with  the  solution,  add  sufficient  wa- 
ter. Rub  the  stone  well  with  this,  using  a 
coarse  cloth,  then  wash  with  soap  and  wa- 
ter. A fine  polish  should  be  obtained. 

To  restore  polish  destroyed  by  muriatic 
acid : The  better  method  is  to  use  hard 

pumice  with  very  fine  white  sand  and 
plenty  of  water.  If  the  acid  has  not  pene- 
trated deeply  the  sand  may  be  omitted  but 
plenty  of  water  must  be  used.  The  rub- 
bing should  be  done  by  a rotary  motion, 


26 


MONUMENT  DEALER’S  MANUAL 


preferably  by  a polisher.  The  chief  point 
is  to  obtain  an  even  surface,  otherwise  the 
results  will  be  unsatisfactory.  When  the 
surface  has  been  rubbed  sufficiently  with  the 
above,  a compact  linen  cushion  may  be 
used  for  polishing,  the  cushion  being  well 
saturated  with  water  and  the  stone  rubbed 
with  this  until  a good  polish  is  had.  To 
give  it  a brilliant  gloss,  wash  the 
prepared  surface  and  let  it  dry,  then 
take  a clean  linen  cushion,  moisten  it 
with  a little  water  and  dip  into  powder  of 
purest  quality  of  calcined  tin.  Rub  for 
some  time  and  complete  the  operation  by 
rubbing  the  work  lightly  with  another  cush- 
ion of  soft  material. 

OIL  AND  VARNISH  REMOVERS. 

Make  a paste  from  chloride  of  lime,  sal 
soda  and  water,  and  apply  to  the  spots  one- 
quarter  of  an  inch  thick.  Allow  it  to  re- 
main for  a few  days,  then  remove  it  and 
wipe  the  spots  with  cold  water.  If  the 
spots  have  not  disappeared  repeat  the  dose. 
Rinse  well. 

Another  method  is  to  apply  a paste  made 
from  carbonate  of  magnesia  and  ether,  or 
from  calcined  magnesia  and  tetrachloride 
of  carbon.  Should  any  of  these  methods 
only  partially  do  the  work,  a treatment 
with  soft  soap,  soda  solution  or  liquid  am- 
monia will  no  doubt  do  the  rest. 

^ H* 

The  following  is  recommended  for  re- 
moving oil  from  granite : “Place  a coating 
of  powder  over  the  oil,  then  dampen  with 
gasoline  and  light.  The  powder  may  be 
calcined  plaster  or  whitening.” 

* * * 

Crude  petroleum  stains,  it  is  said,  are  best 
extracted  by  saturating  pulverized  pipe 
clay,  fullers’  earth  or  whiting  with  benzine 
and  place  a layer  of  this  mass  over  the 
stain  letting  it  remain  until  almost  dry. 
Then  remove,  and  if  stain  still  remains, 
repeat  the  operation. 

Another  effective  means  is  to  mix  three 
parts  by  weight  of  soap,  six  parts  of  fullers’ 
earth,  and  three  parts  of  potash  with 
enough  boiling  water  to  make  a thick  bat- 
ter that  is  applied  in  a heavy  layer  to  the 
stain  and  left  on  for  two  or  three  hours. 

Still  another  method  is  to  make  a mixture 
of  two  parts  by  weight  of  sal  soda,  one  part 
of  chalk  and  one  part  powdered  pumice,  all 
ground  together  in  water  and  applied  as  a 
paste,  which  when  dry  is  removed  and  the 
spots  washed  off  with  soap  and  water. 


To  remove  oil  stains  from  granite — Mix 
gasoline  and  plaster  of  paris  into  a thin 
paste  and  put  it  on  the  stained  parts  to 
the  thickness  of  one  or  two  inches.  Re- 
move when  dry.  If  the  stain  has  been  on 
very  long  two  or  three  applications  may  be 
necessary.  Gasoline  should  be  used  out-of- 
doors  or  not  near  a fire. 

sjc  4s 

“We  have  had  good  success  in  drawing 
out  oil  stains  from  marble  and  granite  by 
placing  a coating  of  powder  over  the  oil 
and  then  dampen  with  gasoline  and  light. 
This  is  the  best  way  we  know  of  to  remove 
oil.  The  powder  may  be  calcined  plaster 
or  whitening.” 

W.  F.  and  P.  A.  Lennon. 

* * * 

To  remove  oil  spots — Saturate  fuller’s 
earth  or  whiting  with  gasoline  or  benzine, 
apply  the  resultant  soft  paste  to  the  spots, 
permitting  it  to  remain  until  dry,  then  re- 
move. If  stains  have  not  disappeared  ap- 
ply another  layer.  If  stains  are  stubborn 
moisten  the  paste  with  benzine  as  fast  as 
it  drys. 

REMOVING  RUST  OR  INK, 

For  hickeys  or  other  small  pieces  rust 
spots  may  be  removed  by  boiling  them  in 
a strong  solution  of  caustic  soda.  Remove 
the  stone  from  the  solution  and  rub  well 
with  a coarse  cloth.  Rinse  in  lukewarm 
water  and  the  rust  will  have  disappeared. 
For  large  work  make  a paste  of  pipe  clay 
or  kaolin  by  mixing  it  with  one  and  one- 
half  ounces  of  fresh  ox  gall,  one  and  one- 
half  gills  of  lye,  and  two  tablespoonsful  of 
turpentine.  Apply  the  paste  to  the  spots 
and  allow  to  remain  two  or  three  days, 
then  remove  the  dry  paste. 

* * * 

Dissolve  in  one  pint  of  rain  water  one 
ounce  oxalic  acid  and  one-half  ounce  anti- 
mony trichloride.  Mix  with  sufficient  flour 
to  make  a soft  paste.  Apply  with  a brush ; 
permit  paste  to  remain  on  spot  for  several 
days,  then  wash  off. 

WEATHER  STAINED  WORK. 

For  simple  weather  stains  mix  five  parts 
by  weight  of  sal  soda,  two  and  one-half 
parts  pulverized  chalk  or  bolted  whiting, 
and  two  and  one-half  parts  of  levigated 
pumice  in  water.  Dissolve  the  soda  in  hot 
water  and  add  the  other  ingredients  after- 
ward. With  this  mixture,  which  should  be 


MONUMENT  DEALER’S  MANUAL 


27 


the  consistency  of  cream,  scrub  the  stone 
with  a coarse  brush.  When  the  stain  is 
well  removed  wash  with  soap  and  water. 


If  this  does  not  do  the  work  effectively, 
rubbing  with  fine  sand  and  bricks  must  be 
resorted  to. 


COMMUNITY  MAUSOLEUM  PATENT  DECISION, 


In  view  of  the  emphasis  which  the  com- 
munity mausoleum  promoters  place  on 
their  so-called  patented  construction  of 
crypts,  exclusive  rights  to  which  are  grant- 
ed to  the  local  companies  or  cemeteries 
they  induce  to  take  up  the  building,  it  is 
interesting  to  note  a decision  of  an  Ohio 
court  declaring  the  original  Hood  patent 
invalid.  The  International  Mausoleum  Co. 
brought  suit  against  H.  S.  Sievert  and  oth- 
ers for  infringing  their  patents.  Judge 
John  M.  Killits,  of  the  United  States  Dis- 
trict Court,  Western  Division  of  the  North- 
ern District  of  Ohio,  in  declaring  the  patent 
invalid,  renders  the  following  decision  : 

This  case  is  before  the  court  on  demurrer 
to  the  bill  of  complaint.  Complainant  al- 
leges that  defendants  are  infringing  a pat- 
ent owned  by  it  and  granted  to  W.  I.  Hood, 
assignor  of  one-half  to  John  W.  Chesrown, 
June  25,  1907,  No.  858,070,  for  a burial 
crypt,  a copy  of  the  patent  being  attached 
and  made  a part  of  the  complaint  as  an 
exhibit. 

The  court,  in  Fowler  vs.  City  of  New 
York,  121  Fed.  747,  a case  wherein  proffer 
only  of  the  patent  in  the  following  lan- 
gauge  was  made : “Which  said  letters  pat- 
ent or  an  exemplified  copy  thereof  your 
orator  will  produce  as  Your  Honors  shall 
direct,”  held  that  the  patent  is,  therefore, 
to  be  “regarded  as  a part  of  the  bill  and 
will  be  examined  on  demurrer.” 

Seventeen  grounds  of  demurrer  are  spe- 
cified. We  will  consider  ground  15  and  16 
only,  which  are : that  the  “patent  was 

granted  and  the  claim  of  said  patent  was 
allowed  for  matter  for  which  the  Com- 
missioner of  Patents  had  no  authority  in 
law  to  grant  a patent  or  allow  a claim,” 
and  “that  said  Exhibit  A shows  on  its  face 
that  said  letters  patent  No.  858,070  is  in- 
valid.” 

We  are  not  unaware  that  there  is  a pre- 
sumption of  validity  of  a patent  so  strong 
that  it  is  improper  to  hold  one  invalid  on 
demurrer,  unless  it  so  clearly  appears  to  be 
invalid  that  no  testimony  can  change  the 
legal  aspects  of  the  case.  But  when  these 
considerations  exist,  the  question  of  va- 
lidity may  be  raised  by  demurrer,  and  the 
case  may  be  determined  on  the  issue  so 
formed.  (Richard  v.  Chase  Elevator  Co., 
158  U.  S.,  299.)  And  manifestly,  in  con- 


sidering the  question,  we  may  not  take  cog- 
nizance of  anything  de  hors  the  record,  ex- 
cepting such  matters  as  are  of  the  stock  of 
common  knowledge ; wherefore  we  are  un- 
able to  consider  the  prior  art  as  invited  by 
demurrants.  But,  considered  in  the  nar- 
row light  constraining  us,  we  find  little  dif- 
ficulty in  reaching  the  conclusion  that  the 
patent  in  question  is  invalid  on  its  face. 

The  claimant  says  in  his  application  and 
specifications : 

“This  invention  has  relation  to  burial 
crypts,  and  it  consists  in  the  novel  con- 
struction and  arrangement  of  its  parts  as 
hereinafter  shown  and  described. 

“The  object  of  the  invention  is  to  pro- 
vide a community  crypt  having  a hallway 
or  lobby  of  sufficient  size  to  accommodate 
the  funeral  attendants  and  which  will  pro- 
tect them  during  the  services,  from  extreme 
temperatures  in  the  weather  and  also  from 
storms.” 

This  is  the  only  expression  of  the  patentee 
concerning  the  purpose  and  scope  of  his  in- 
vention, although  further  along  in  the  spe- 
cifications he  describes  some  results  that 
may  be  obtained  through  the  operation  of 
his  devices : the  only  ones  of  which  ap- 

pearing novel  to  us  will  be  discussed  later. 

The  specifications  and  claims  are  mani- 
festly drawn  with  a lack  of  clear  under- 
standing of  the  meaning  of  terms  for  be- 
yond any  question  the  word  “crypt,” 
throughout  the  entire  letters  patent,  is  used 
to  designate  a building  housing  receptacles 
for  the  bodies  of  the  dead.  The  use  of  the 
word  in  the  specifications  meets  no  defini- 
tion in  any  standard  dictionary.  The  pat- 
entee used  it  in  the  sense  of  a burial  build- 
ing or,  as  it  is  commonly  known  in  the 
art  now,  of  a mausoleum.  He  specifies 
that  his  crypt  “comprises  the  hall  or  lobby 
(1)  of  sufficient  size  to  accommodate  a 
funeral  train,”  with  “catacombs” — “ar- 
ranged in  vertical  rows,  tier  upon  tier, 
and  separated  from  each  other  by  homo- 
geneous partitions,  preferably  of  concrete 
cement  and  homogeneous  tops,  the  lower 
surface  of  the  floor  of  one  set  of  cata- 
combs forming  the  tops  of  the  next  set  of 
catacombs  below.” 

As  we  said  of  the  use  of  the  word 
“crypt,”  so  we  may  say  that  he  uses  the 
word  “catacombs”  in  a sense  not  found  in 


28 


MONUMENT  DEALER’S  MANUAL 


any  standard  dictionary  defining  the  word. 
Except  that  the  structure  upon  which  he 
claims  a patent  is  above  ground,  we  might 
say  that  the  careless  draughtsman  of  these 
specifications  was  reversing  the  use  of  the 
terms  and  spoke  of  catacombs  when  he 
meant  crypts  and  of  crypts  when  he  meant 
catacombs. 

It  is  certainly  settled  that,  understand- 
ing that  when  the  patentee  speaks  of  “buri- 
al crypts”  he  means  a building  erected  on 
the  surface  of  the  ground  with  central 
hallway  and  burial  receptacles  arranged  on 
each  side,  he  is  dealing  with  a subject  that 
is  not  patentable.  Such  a construction  is 
neither  a new  or  useful  art,  machine,  manu- 
facture, or  composition  of  matter,  or  any 
new  or  useful  improvement  thereof,  or  any 
new,  original  or  ornamental  design  for  any 
article  of  manufacture.  The  doctrine  of 
Jacobs  vs.  Baker,  7 Wall.,  295;  Fond  du 
Lac  County  vs.  May,  137  U.  S.,  395 ; 
American  Disappearing  Bed  Co.  vs.  Ar- 
naelsteen,  182  Fed.,  324,  settles  this  point. 
In  the  first  two  cases  above  it  was  held 
that  an  improvement  in  the  construction  of 
a jail,  being  a building,  did  not  come  un- 
der the  description  of  things  subject  to  a 
patent  covered  by  Section  4886,  Revised 
Statutes  of  the  United  States.  And,  with- 
out the  authority  of  these  cases,  it  is  com- 
mon knowledge  that  the  older  countries 
present  many  instances  of  burial  places  un- 
der roof  with  provision  for  the  accommo- 
dation of  funeral  attendants,  protecting 
them  during  services  from  the  weather,  a 
with  receptacles  for  the  dead.  The  world 
has  general  knowledge  of  the  construction 
and  arrangement  of  the  catacombs  in  Rome, 
and  of  churches  and  burial  places  generally 
which  make  provision  similar  to  that  which 
the  inventor  Hood  says  is  the  object  of  his 
invention. 

The  specifications  provide  for  a construc- 
tion by  which  the  “catacombs,”  pass  the 
gases  and  volatile  products  of  decomposi- 
tion into  a common  chamber,  from  which 
they  may  escape  into  the  outer  air  and  dis- 
seminate. This  is  one  of  the  claimed  novel 
features  of  the  invention.  This  may  be  a 
novel  result,  but  the  devices  by  which  it 
may  be  accomplished  cannot  be  said  to  be 
useful,  for  the  dissemination  of  the  offen- 
sive volatile  products  of  decomposition  of 
the  human  body  into  the  atmosphere  is 
hardly  desirable,  if,  indeed,  it  is  sanitary. 
We  do  not  feel  that  we  can  say  that  a re- 
sult so  likely  to  become  a nuisance  can  be 
subject  of  patentable  invention. 


The  means  of  escape  of  the  gases  of  de- 
composition from  an  individual  “catacomb” 
is  through  a “valve  port”  in  the  rear.  No 
description  is  offered  or  claim  made  for 
any  novel  valve,  nor  is  any  form  of  valve 
in  fact  shown,  but  we  are  led  to  under- 
stand that  any  gas  pressure  relief  valve 
may  be  employed.  This  device  is  an  old 
one  as  applied  to  analogous  purposes,  and 
consequently,  is  not  invention,  standing  by 
itself,  in  view  of  the  decision  in  Blake  vs. 
San  Francisco,  113  U.  S.,  682. 

The  inventor  also  provided  each  “cata- 
comb” with  a port  in  the  front  end  through 
which  he  says  the  air  may  be  “exhausted 
from  the  interior  of  the  catacombs  when 
the  casket  is  first  deposited  therein.”  It 
does  not  appear  from  the  specifications  or 
from  any  description  that  any  advantage 
inures  in  exhausting  the  air  from  a “cata- 
comb” after  the  deposit  of  a casket,  and 
it  is  a matter  of  common  knowledge  that 
a “catacomb”  constructed  preferably  of 
concrete  cement  would  not  suffer  the  con- 
tinuance of  a vacuum  within  it  for  any 
appreciable  length  of  time,  as  the  porosity 
of  concrete  is  undoubted. 

The  claims  are  as  follows : 

1.  A burial  crypt  comprising  a structure 
with  a reception  hallway,  seamless  cata- 
combs arranged  therein  and  spaced  from 
the  walls  thereof  whereby  an  air  passage  is 
formed,  said  catacombs  being  provided 
with  valve-controlled  ports  at  their  ends 
which  communicate  with  the  said  air  pas- 
sage having  an  outlet  at,  or  near,  the  top 
of  the  structure. 

2.  A burial  crypt  comprising  a structure 
with  a reception  hallway,  seamless  cata- 
combs located  therein  and  spaced  from  the 
walls  thereof  whereby  an  air  passage  is 
formed,  said  catacombs  being  provided  with 
valve-controlled  ports  at  their  rear  ends 
which  communicate  with  said  air  passage, 
said  passage  being  provided  with  an  outlet 
at  or  near  the  top  of  the  structure,  also 
valve-controlled  ports  at  the  front  ends  of 
the  catacombs  through  which  the  air  may 
be  exhausted  therefrom  after  the  same  are 
sealed. 

3.  A burial  crypt  comprising  a structure 
with  a reception  hallway,  seamless  cata- 
combs located  therein  and  spaced  from  the 
walls  thereof  whereby  an  air  passage  is 
formed,  said  catacombs  being  provided 
with  valve-controlled  ports  at  their  rear 
ends  which  communicate  with  said  air 
passage,  said  passage  being  provided  with 
an  outlet,  at  or  near  the  top  of  structure, 


MONUMENT  DEALER’S  MANUAL 


29 


also  valve-controlled  ports  at  the  front  ends 
of  the  catacombs  through  which  the  air 
may  be  exhausted  therefrom  after  the  same 
are  sealed  and  a horizontal  shelf  in  front  of 
each  row  of  catacombs,  the  upper  surfaces 
of  the  shelves  lying  in  the  same  plane  as 
the  upper  surfaces  of  the  bottoms  of  the 
catacombs. 

It  will  be  observed  that  these  several 
claims  are  generally  each  for  an  aggrega- 
tion of  non-co-operating  elements,  each  of 
which  is  non-patentable.  It  cannot  be  said, 
as  the  court  in  Pickering  vs.  McCullough, 
104  U.  S.,  318,  says  that  all  the  constitu- 
ents so  enter  into  the  combination  that 
each  qualifies  the  other.  As  observed  by 
counsel  for  demurrants,  there  is  no  joint 
or  co-operating  action  between  a reception 
hallway  and  the  gas  pressure  relief  valve, 
for  the  latter  will  operate,  if  it  operates  at 
all,  indifferent  whether  the  services  are 
held  in  the  reception  hallway  or  dispensed 
with,  or  whether  the  gas  container  whose 
undue  pressure  it  is  to  relieve  is  on  a 
shelf  in  a receiving  vault  or  out  of  doors 
Nor  is  there  any  co-operating  action  be- 
tween the  horizontal  shelf  claimed  in  the 
third  claim,  which,  in  the  specifications,  the 
claimant  says  “may  be  ffsed  for  the  support 
of  floral  designs  and  appropriate  emblems,” 
and  the  gas  pressure  valve. 

There  is  no  patentability  in  the  idea  of 
a burial  crypt  (meaning  a burial  building) 
with  a reception  hallway,  nor  does  the  in- 
clusion in  such  an  edifice  of  seamless  cata- 
combs (meaning  homogeneous  burial  crypts 
or  niches  for  the  deposit  of  individual  bod- 
ies), bring  about  a patentable  invention,  for 
it  is  notorious  that  the  sides  of  the  corri- 
dors in  the  Roman  catacombs  were  lined 
with  burial  niches  cut  into  the  solid  rock 
or  tufa,  and,  consequently,  they  were 
“seamless”  in  the  walls. 

Aside  from  the  lack  of  co-operation  be- 
tween valve-controlled  ports  and  the  ar- 
rangement of  the  catacombs  (crypts)  on 

COUNTY  SOLDIERS’ 

First  among  practical  measures  to  be 
considered  in  the  erection  of  soldiers’  me- 
morials are  ways  and  means  of  raising 
funds.  Money  must  be  raised  by  voluntary 
contributions  or  by  the  appropriation  of 
public  funds,  or  both.  States  and  large 
cities  will  undoubtedly  in  many  cases  erect 
imposing  memorials  from  public  funds.  In 
most  cases,  however,  especially  in  rural 
communities  and  in  the  smaller  cities  and 
towns,  voluntary  contributions  will  neces- 


the  sides  of  a central  hallway,  which  we 
have  noticed,  ports  in  a sealed  crypt  to  per- 
mit the  escape  into  the  open  air  of  noxious 
and  perhaps  poisonous  effluvia  cannot  re- 
ceive the  sanction  of  a patent  as  a useful 
invention,  and  we  may  say  that  a port 
through  which  air  may  be  exhausted  from 
a chamber  is  not  new  and  in  combination 
with  other  elements  aggregated  in  these 
claims  it  adds  nothing  for  want  of  neces- 
sary co-operation  as  well  as  not  serving  a 
purpose  specified  to  be  useful. 

A shelf  in  front  of  a “catacomb”  on 
which  a casket  may  be  rested  and  which 
may  also  support  flowers  or  memorial  de- 
signs has,  as  an  element  of  combinations, 
already  been  noticed.  Being  but  an  enlarge- 
ment of  the  base  of  the  portal,  it  is  old. 

Looking  at  these  specifications  as  a 
whole,  we  are  forced  to  criticise  them  as 
being  so  vague  and  ambiguous  in  their 
terms  as  to  need  extensive  reconstruction 
in  order  to  be  understood  and  to  consti- 
tute a source  from  which  any  plausible  the- 
ory of  the  operation  of  the  patentee’s  al- 
leged invention  may  be  deduced. 

If  the  growth  of  the  patent  system  at  the 
time  of  the  decision  of  Merrill  vs.  Yeo- 
mans, 94  U.  S.,  568,  has  reached  a stage  in 
its  progress  which  warranted  the  court  in 
saying  that  there  was  no  longer  “excuse 
for  ambiguous  language  or  vague  descrip- 
tions,” we  may  at  this  time  speak  even 
more  strongly  and  say  that  an  invention 
depicted  in  such  slovenly  and  ill-considered 
and  inconclusive  language  as  this  is  not 
yet  ready  for  protection  by  letters  patent. 

We  consider  thaf  the  alleged  patentee’s 
right  to  protection  by  letters  patent  is  con- 
cluded against  him  by  the  cases  above 
(Fond  du  Lac  County  vs.  May  and  Ameri- 
can Disappearing  Bed  Company  vs.  Ar- 
naelsteen),  and  that  the  demurrers  should 
be  granted  cause  of  the  invalidity  of  the 
letters  patent. 

MEMORIAL  LAWS. 

sarily  be  resorted  to.  In  many  cases  un- 
less vigorous  personal  work  is  done  by 
leading  citizens  sufficient  funds  will  not  be 
at  once  forthcoming,  and  interest  will 
wane.  As  time  goes  on,  it  will  be  stiff  more 
difficult  to  complete  funds  unless  public 
appropriations  may  be  drawn  upon.  The 
simplest  and  most  direct  method  of  dis- 
tributing the  cost  of  a memorial  over  the 
entire  community  is  by  taxation,  but  in 
most  cases  state  legislation  is  necessary 


30 


MONUMENT  DEALER’S  MANUAL 


to  permit  raising  funds  for  such  purposes 
by  taxation.  State  laws  have  been  passed 
providing  that  towns,  counties,  cities  or 
other  local  political  units  may  be  permitted 
to  levy  taxation  for  the  erection  of  soldiers’ 
memorials,  and  it  is  of  the  highest  impor- 
tance that  these  acts  be  so  worded  as  to 
provide  for  the  erection  of  real  memorials 
that  memorialize  and  not  so  as  to  permit 
thriftless  public  officials  to  foist  public 
buildings  upon  the  people  in  the  guise  of 
soldiers’  memorials.  Some  laws  are  not 
so  worded,  for  they  permit  the  erection  of 
either  buildings  or  monuments,  and  efforts 
should  be  made  to  have  them  amended  so 
as  to  provide  exclusively  for  ideal  memo- 
rials that  memorialize  and  do  nothing  else. 

In  all  such  laws  the  section  referring  to 
the  memorial  should  be  so  worded  as  to 
provide  for  “the  erection  of  a suitable  ideal 
memorial  that  shall  give  visible  symbolic 
expression  of  the  heroism  of  our  soldiers 
and  sailors  in  the  great  world  war,  and 
express  in  monumental  form  our  gratitude 
for  their  bravery  and  sacrifices ; a memo- 
rial that  shall  be  exclusively  a tribute  to 
our  heroes  and  shall  serve  no  commercial 
or  utilitarian  purpose,  but  shall  be  an  ideal 
work  of  memorial  art  so  designed  that  it 
shall  be  recognizable  by  all  as  an  expres- 
sion of  the  deeds  of  our  soldiers  and  sail- 
ors.” 

Every  state  should  have  a law  similar  to 
this,  as  a public  appropriation  secured  in 
this  manner  will  insure  the  raising  of  suffi- 
cient funds  in  rural  communities  to  pro- 
vide a worthy  memorial. 

With  a law  similar  to  this  on  the  statute 
books  every  community  can  easily  have  a 
memorial.  So  that  the  law  should  provide, 
however,  for  a proper  form  of  memorial, 
those  interested  in  securing  real  memorials 
should  take  the  lead  in  the  matter  and  see 
that  properly  worded  bills  are  presented 
to  their  legislatures  so  that  the  public  build- 
ing propagandists  may  not  use  these  meas- 
ures for  the  erection  of  utilitarian  buildings 
in  the  guise  of  memorials. 

A bill  for  the  purpose  of  erecting  me- 
morials to  soldiers  of  the  Civil  War  by 
similar  means  was  passed  several  years  ago 
in  Iowa,  and  has  been  the  means  of  erect- 
ing numbers  of  public  memorials  that 
would  not  otherwise  have  been  erected. 

Such  laws  can  be  of  great  benefit  in  se- 
curing the  erection  of  public  memorials, 
but  too  much  stress  cannot  be  laid  upon 
the  necessity  of  getting  laws  that  are  prop- 
erly worded  to  secure  real  memorials  of 
worthy  artistic  form. 


In  some  cases,  as  in  Oregon,  county 
courts  are  permitted  to  appropriate  a sum 
specifically  limited  in  amount  to  $5,000 ; in 
the  Illinois  bill,  provision  is  made  for  pop- 
ular vote  both  on  the  amount  to  be  ex- 
pended and  on  the  character  of  the  memo- 
rial ; in  the  Wisconsin  bill  the  County 
Board  is  permitted  to  levy  a tax  not  ex- 
ceeding two-tenths  of  a mill  on  the  as- 
sessed valuation  of  taxable  property;  in 
Minnesota,  counties  with  a population  of 
not  over  twenty  thousand  may  appropriate 
$10,000,  and  counties  having  a population 
of  from  twenty  to  a hundred  thousand, 
may  appropriate  $20,000  to  erect  or  assist 
in  the  erection  of  a monument. 

As  to  which  of  these  methods  of  fixing 
the  amount  is  used  is  a matter  to  be  de- 
cided by  legal  advice  in  each  state,  or  the 
advice  of  the  legislator  who  is  to  handle 
the  matter. 

The  section  of  the  act,  however,  regard- 
ing the  monument,  after  the  proper  phrase- 
ology regarding  the  county  levying  or  ap- 
propriating a certain  amount  on  a certain 
portion  of  taxes,  is  fixed,  should  include 
the  wording  noted  above. 

If  this  section  is  worded  in  thi§  form  it 
will  effectually  prevent  memorial  funds 
being  used  for  the  erection  of  City  Halls, 
Court  Houses,  bridges,  public  halls  or  other 
selfishly  utilitarian  structures. 

The  Oregon  state  law,  which  has  been 
passed  and  is  now  in  force,  reads  in  full 
as  follows : 

SENATE  BILL  NO.  121. 

Introduced  by  Senator  Handley. 

A BILL  for  an  Act  to  empower  the  several  county 
courts  of  the  State  of  Oregon  to„expend  a lim- 
ited amount  of  the  county  funds  in  erecting  or 
assisting  its  citizens  in  erecting  a proper  and 
suitable  arch  or  monument  of  permanent  ma- 
terial, to  the  memory  of  the  soldiers  and  sailors 
who  served  in  the  Great  World  War. 

Whereas,  A great  sacrifice  and  service  for  our 
country  and  the  cause  of  humanity  has  been  made 
by  soldiers  and  sailors  of  this  State  in  said  war, 
and  ^ 

Whereas,  Many  have  made  the  supreme  sacrifice 
in  the  cause  of  humanity  and  democracy;  and 
Whereas,  It  is  fitting  and  proper  that  suitable 
monuments  should  be  erected  in  every  county  to 
their  memory,  therefore 

Be  It  Enacted  by  the  People  of  the  State  of  Ore- 
gon : 

Section  1.  That  the  county  courts  of  the  several 
counties  of  this  State  are  hereby  authorized  and 
empowered  to  pay  out  of  the  county  funds  a suffi- 
cient sum  to  erect  or  assist  its  citizens  in  erect- 
ing a proper  and  suitable  memorial  arch  or  monu- 
ment of  permanent  material  to  the  memory  of  the 
soldiers  and  sailors  of  said  county  who  served  in 
the  late  World  War  in  a sum  not  to  exceed  $5,000. 

Section  2.  Such  memorial  shall  be  erected  and 
constructed  under  the  supervision  of  the  several 
county  courts  and  shall  be  located  at  the  county 
seat  and  placed  upon  property  of  the  county. 

A proposed  Wisconsin  bill  reads  in  full 
as  follows : 


MONUMENT  DEALER’S  MANUAL 


31 


SENATE  BILL  NO.  18. 

Introduced  by  Senator  A.  J.  Pullen  of  Fond  du  Lac. 
A BILL  to  create  section  45055  and  subdivision 
(12n)  of  Section  670  of  the  statutes,  authoriz- 
ing counties,  towns,  cities  and  villages  to  ap- 
propriate money  for  monuments  or  memorial 
buildings  to  the  deeds  and  memory  of  the 
soldiers  and  sailors  who  served  the  nation  in 
the  war  with  Germany. 

The  people  of  the  State  of  Wisconsin,  represented 
in  senate  and  assembly,  do  enact  as  follows: 
Section  1.  A new  section  and  a new  subdivision 
of  section  670  are  added  to  the  statutes  to  read: 
45055.  Any  town,  city  or  village  by  its  respective 
board  or  council  may  determine  to  erect  a suitable 
monument  or  memorial  building  to  the  deeds  and 
memory  of  the  soldiers  and  sailors  who  served  the 
Nation,  during  the  war  with  Germany,  and  for 
that  purpose  may  appropriate  out  of  the  general 
funds  of  said  town,  city  or  village,  or  levy  a tax 
therefor,  a sum  not  exceeding  five-tenths  of  a mill 
of  the  assessed  valuation  of  all  the  taxable  prop- 
erty in  said  town,  city  or  village  in  the  year  in 
which  said  appropriation  is  made  or  tax  is  levied. 

Section  670  (12n)  The  county  board  of  every 

county  is  hereby  authorized  to  appropriate  from 
its  general  fund  or  to  levy  a tax  for  the  erection 
of  a suitable  monument  or  monuments,  memorial 
building  or  buildings,  to  the  deeds  and  memory 
of  the  soldiers  and  sailors  wTho  served  the  nation 
during  the  war  with  Germany,  or  to  contribute 
to  the  erection  of  such  monuments  or  buildings 
by  one  or  more  of  the  towns,  villages  or  cities,  in 
said  county  a sum  not  exceeding  two-tenths  of  a 
mill  upon  the  assessed  valuation  of  all  the  taxable 
property  in  said  county  in  the  year  in  which  said 
appropriation  is  made  or  tax  levied. 

Section  2.  This  act  shall  take  effect  upon  passage 
and  publication. 

The  Minnesota  bill  has  passed  and  reads 
in  full  as  follows : 

HOUSE  BILL  NO.  98. 

Introduced  by  Representative  W.  C.  Briggs  of 
Pipestone  and  Senator  Nordlin. 

A BILL  for  an  act  to  amend  Subdivision  10  of 
Section  696  General  Statutes  1913,  relating  to  an 
appropriation  by  certain  counties  for  a soldiers’ 
and  sailors’  monument. 

Be  it  enacted  by  the  Legislature  of  the  State  of 
Minnesota : 

Section  1.  That  subdivision  10  of  section  696 
General  Statutes  1913  is  hereby  amended  to  read 
as  follows : 

Section  10.  To  appropriate  in  counties  having  a 
population  of  not  more  than  twenty  thousand  a 
sum  not  exceeding  ten  thousand  dollars,  and  in 
counties  having  a population  of  more  than  twenty 
thousand  and  less  than  one  hundred  thousand  a 
sum  not  exceeding  twenty  thousand  dollars,  to 
erect  or  aid  in  erecting  a monument  or  other  me- 
morial to  the  soldiers  and  sailors  of  the  nation, 
such  monument  or  other  memorial  to  be  constructed 
on  the  courthouse  square,  or  in  a public  park  at 
the  county  seat,  if  there  be  one. 

Sec.  2.  This  act  shall  take  effect  and  be  in 
force  from  and  after  its  passage. 

A proposed  Illinois  bill  reads  as  follows  : 

SENATE  BILL  NO.  64. 

A BILL  for  an  act  to  authorize  counties  having 
a population  of  less  than  three  hundred  thou- 
sand 1300,000)  to  erect  monuments  or  memorials 
in  honor  of  their  soldiers  and  sailors  who  par- 
ticipated in  the  war  of  1917,  1918  and  1919. 
Section  1.  Be  it  enacted  by  the  People  of  the 
State  of  Illinois,  represented  in  the  General  As- 
sembly: That  whenever  electors  in  any  county 

equal  in  number  one-twentieth  of  the  total  number 
of  votes  east  for  county  judge  in  said  county  at 
the  latest  preceding  election  for  such  offices  shall 
petition  the  county  judge  of  the  county  court  of 
any  county  not  over  three  hundred  thousand  in 


population  to  submit  to  a vote  of  the  electors  of 
such  county  a proposition  to  erect  and  maintain  a 
monument  in  honor  of  its  soldiers  and  sailors  who 
served  during  the  war  1917,  1918  and  1919  as  here- 
inafter provided  in  this  Act;  it  shall  be  the  duty 
of  such  judge  of  the  county  court  to  submit  such 
proposition  to  a special  county  election  to  be 

called  by  such  judge  wdthin  sixty  days  thereafter: 
Provided,  that  if  there  be  a general  county  elec- 
tion to  be  held  in  such  county  within  ninety  days 
that  no  special  election  shall  be  called  but  that 
said  proposition  shall  be  submitted  at  such  gen- 
eral election.  An  order  shall  be  entered  by  the 

county  judge  and  recorded  in  the  county  court  of 
such  county  ordering  the  county  clerk  to  submit 
such  proposition  as  aforesaid  at  such  election: 

Provided,  further,  that  if  there  be  any  cities,  vil- 
lages or  incorporated  towns  within  such  county 
which  have  adopted  “An  Act  to  amend  an  Act 

entitled,  ‘An  Act  regulating  the  holding  of  elec- 
tions and  declaring  the  results  thereof  in  cities, 
villages  and  incorporated  towns  in  this  State,’  *' 
approved  June  19,  1885,  in  force  July  1,  1885,  and 
all  amendments  thereto,  then  such  county  court 
shall  order  the  board  of  election  commissioners  for 
such  cities,  villages  or  incorporated  towns  to  sub- 
mit said  proposition  on  the  ballot  at  said  election 
within  such  cities,  villages  or  incorporated  town. 
Upon  the  entering  of  such  order  it  shall  be  the 
duty  of  the  election  officials  in  such  cities,  villages 
or  incorporated  towns,  and  the  county  clerk  in  the 
counties  to  submit  such  proposition  in  conformity 
with  the  general  election  laws  in  the  State  of  Il- 
linois, except  where  otherwise  especially  provided. 

Sec.  2.  Said  petition  provided  for  in  section  1 
shall  be  in  the  following  form: 

To  the  Honorable  (name  of  judge),  judge  of  the 
county  court  of  the  county  of  (name  of  county). 

We,  the  undersigned  qualified  electors  of  the 
county  of  (name  of  county),  respectfully  petition 
your  honor  to  submit  to  a vote  of  the  electors  of 
said  county  at  an  election,  the  following  propo- 
sition : 

Shall  the  county  of  erect  a 

as  a memorial  in  honor  of  the 

soldiers  and  sailors  of  the  war  of  1917,  1918  and 
1919,  the  original  cost  of  which  shall  not  ex- 
ceed $ ? 

Signature  | Number  Street  | Town  or  City 


I , do  hereby  certify  and 

make  oath  (or  affirm)  that  I am  upwards  of 
twenty-one  years  of  age;  that  I reside  at  num- 
ber   street,  in  the  village  of  (or 

city)  , of  the  county  of 

and  State  of  Illinois,  and  that  the 

signatures  on  this  sheet  were  signed  in  my  pres- 
ence and  are  genuine;  and  that  to  the  best  of  my 
knowledge  and  belief  the  persons  so  signing  were 
at  the  time  of  signing  said  petition  qualified  voters 
of  the  county  of  (name  of  county)  and  that  their 
respective  residences  are  correctly  stated  as  above 
set  forth. 


Subscribed  and  sworn  to  before  me  this 

day  , A.  D.  19... 

(Seal,  if  officer  has  one.) 

(Official  character.) 

Such  petition  shall  conform  to  the  general  pro- 
visions of  the  election  laws  of  this  State  pertain- 
ing to  such  or  similar  petitions.  Such  petitions 
shall  be  sworn  to  before  some  officer  of  the  county 
in  which  the  proposition  is  to  be  submitted,  au- 
thorized to  administer  oaths  therein. 

Additional  petitions  may  be  filed  up  to  the  twen- 
tieth day  before  the  date  set  for  any  election  called 
as  herein  provided. 


32 


MONUMENT  DEALER'S  MANUAL 


Sec.  3.  The  ballot  at  such  election  shall  be  in  the 
following  form: 

[ Shall  the  county  of  erect  | | | 

| a memorial  in  honor  of  the  sol-  | Yes  | | 

| diers  and  sailors  of  the  war  | 
j of  1917,  1918  and  1919,  the  | | | 

j original  cost  of  which  shall  not  | No  | 

| exceed  $ ? | | | 

Provided  that  there  shall  be  inserted  in  said 
proposition  an  amount  equal  to  the  largest  sum 
named  in  any  petition  filed  with  the  county  judge. 

Provided,  further,  that  following  the  above  prop- 
osition on  the  ballot  all  types  of  memorials  which 
may  be  designated  in  any  petitions  filed  as  herein 
provided,  shall  be  listed  so  that  each  elector  may 
express  his  choice,  by  putting  a cross  in  the 

square  in  front  of  the  type  he  favors,  which  list 
shall  be  substantially  in  the  following  form: 

VOTE  FOR  ONE. 

□ ARMORY 

BOULEVARD 
BRIDGE 


□ 

Sec.  4.  The  judge  of  such  county  court  shall  give 
at  least  ten  days’  notice  of  the  election  at  which 
such  proposition  is  to  be  submitted,  by  publishing 
such  a notice  in  one  or  more  daily  newspapers,  pub- 
lished within  such  county  for  at  least  five  consecu- 
tive days,  the  last  publication  of  which  shall  be 
not  less  than  ten  days  before  the  election,  and  if 
there  be  no  daily  newspaper  in  such  county,  then 
by  publishing  such  notice  two  consecutive  weeks 
in  one  or  more  weekly  newspapers,  the  second  pub- 
lication to  be  not  less  than  ten  days  previous  to 
the  date  of  such  election.  Such  election  shall  be 
held  under  the  election  laws  in  force  in  such  county 
or  in  the  different  cities  thereof  except  as  other- 
wise herein  provided. 

The  proposition  shall  be  on  a separate  ballot  from 
the  one  on  which  is  printed  the  names  of  candi- 
dates for  office,  if  such  proposition  be  submitted  at 
the  general  election,  but  it  need  not  be  on  a ballot 
separate  from  other  propositions.  The  proposition 
shall  be  printed  in  prominent  type  of  not  less  than 
one-eighth  inch  in  height  and  such  ballot  and  the 
manner  of  voting  the  same  shall  comply  as  nearly 
as  may  be  to  section  16  of  an  act  entitled,  “An 
Act  providing  for  the  printing  and  distribution  of 
ballots  at  public  expense  and  the  nomination  of 
candidates  for  public  offices,  to  regulate  the  man- 
ner for  holding  elections  and  to  enforce  the  se- 
crecy of  the  ballot,’’  approved  June  1,  1891,  and 
in  force  July  1,  1891,  and  all  amendments  thereto. 

If  the  majority  of  the  votes  cast  “Yes’’  or  “No” 
on  such  proposition  be  in  favor  thereof,  it  shall 
be  the  duty  of  the  county  board  or  commission- 
ers of  such  county,  within  one  year  after  such 
election,  to  appropriate  such  funds  as  may  be 
necessary  to  erect  a suitable  monument  or  memo- 
rial and,  if  necessary,  to  provide  a site  therefor. 

Such  monument  or  memorial  may  take  the  form 
of  a public  edifice,  park,  boulevard,  bridge,  ar- 
mory, or  such  structure  as  may  receive  the  highest 
number  of  votes  from  the  voters  who,  by  the 
means  herein  provided,  express  a choice  as  to  the 
type  of  structure. 

Such  monument  or  memorial  shall  be  under  the 
supervision  and  control  of  the  county  board  or 
commissioners,  but  it  shall  be  for  the  free  use  of 
the  public.  The  county  board  or  commissioners 
is  hereby  authorized  to  make  such  appropriation 
from  time  to  time  as  may  be  necessary  to  main- 
tain and  operate  such  monument  or  memorial. 

Sec.  5.  The  returns  of  such  election  shall  be 
canvassed  by  the  same  authorities  as  canvass  re- 
turns of  the  general  county  elections. 

Sec.  6.  The  county  clerk  shall,  at  the  first  meet- 
ing of  the  county  board  of  commissioners,  after 
such  election,  file  with  the  chairman  of  said 
county  board  or  commissioners  a certificate  of  the 
result  of  such  election,  whereupon  such  chairman 
shall  name  a committee  of  not  to  exceed  five  mem- 
bers to  investigate  the  cost  of  a suitable  memorial 


and  to  report  at  the  next  succeeding  regular  or 
special  meeting  of  the  county  board  or  commis- 
sioners. 

Sec.  7.  The  county  board  or  commissioners  may 
issue  bonds  for  any  part  or  for  all  of  the  cost  of 
the  construction  of  such  memorial  without  submit- 
ting to  the  vote  of  the  people  the  proposition  of 
whether  or  not  such  bonds  may  be  issued:  Pro- 

vided, that  such  bonds  shall  be  issued  to  mature 
in  not  less  than  ten  or  more  than  twenty  annual 
series,  the  last  series  to  mature  in  not  more  than 
twenty  years  from  the  date  of  issue. 

Sec.  8.  The  county  clerk  shall,  at  least  three 
days  before  the  election  hereinbefore  provided  for, 
cause  a copy  of  the  official  ballot  hereinbefore  pro- 
vided for  to  be  published  once  in  three  news- 
papers in  the  county  if  there  be  so  many  pub- 
lished in  such  county,  or  if  there  be  no  news- 
paper published  in  such  county  the  officials  in 
charge  of  the  publication  of  the  official  ballot  shall 
cause  three  sample  ballots  to  be  posted  in  each 
of  the  voting  precincts  in  such  county  at  least 
three  days  before  such  election. 

Sec.  9.  Whereas,  an  emergency  exists,  this  Act 
shall  take  effect  immediately  upon  its  passage. 

In  the  state  of  Iowa  a similar  law  for 
the  erection  of  memorials  to  soldiers  of 
the  Civil  War  was  enacted  several  years 
ago  and  has  been  the  means  of  erecting  a 
number  of  soldiers’  memorials  that  would 
not  otherwise  have  been  erected. 

This  law  reads  as  follows : 

Sec.  430.  Dependent  Soldiers’  and  Sailors’  Tax — ■ 
Erection  of  Monuments.  That  the  law  as  it  ap- 
pears in  section  four  hundred  thirty,  supplement 
to  the  code,  1913,  be  and  the  same  is  hereby  re- 
pealed and  the  following  enacted  in  lieu  thereof: 

A tax  not  exceeding  one  mill  upon  the  dollar 
may  be  levied  by  the  board  of  supervisors  upon 
all  taxable  property  within  the  county,  to  be 
collected  at  the  same  time  and  in  the  same  man- 
ner as  other  taxes,  to  create  a fund  for  the  re- 
lief of,  and  to  pay  the  funeral  expenses  of  hon- 
orably discharged,  indigent  United  States  soldiers, 
sailors  and  marines,  and  their  indigent  wives, 
widows  and  minor  children,  not  over  fourteen 
years  of  age,  if  boys,  not  over  sixteen,  if  girls, 
having  a legal  residence  in  the  county,  or  for 
the  erection  or  maintenance  of  monuments  or  me- 
morial halls  in  any  cemetery  or  public  place  in 
the  county,  or  across  the  line  in  an  adjoining 
county  Avhere  such  cenTetery  is  used  chiefly  by 
the  inhabitants  of  the  county  voting  the  tax,  ex- 
cept that  where  it  is  contemplated  to  erect  any 
such  monument  or  memorial  hall  within  the  cor- 
porate limits  of  any  city  or  town,  public  park  or 
public  square,  the  consent  of  the  city  or  town 
council,  or  park  commissioners,  as  the  case  may 
be,  having  jurisdiction  thereof,  shall  first  be  ob- 
tained; said  fund  to  be  expended  for  the  pur- 
poses aforesaid  by  the  joint  action  and  control 
of  the  board  of  supervisors  and  the  relief  com- 
mission provided  for  by  section  four  hundred 
thirty-one  of  the  code. 

Sec.  435.  Soldiers’  Monuments  and  Memorial 
Halls — Tax  for — Inscriptions. 

Whenever  a petition  shall  be  presented  to  the 
board  of  supervisors  of  any  county,  signed  by  a 
majority  of  the  members  of  the  grand  army  posts 
therein,  asking  it  to  submit  to  the  voters  of  such 
county,  at  the  next  general  election  thereafter,  the 
question  of  aiding  in  the  erection  of  a soldiers’ 
and  sailors’  monument  or  memorial  hall,  the  same 
shall  be  ordered  by  such  board.  The  board  shall 
cause  the  proposition  to  be  printed  and  placed 
upon  the  ballots,  and  the  election  shall  be  con- 
ducted in  the  manner  provided  in  case  of  similar 
or  like  propositions  in  the  chapter  on  elections. 

If  a majority  of  the  votes  polled  is  in  favor  of 
the  adoption  of  the  proposition,  then  such  board, 
at  the  time  of  levying  the  ordinary  taxes  follow- 


MONUMENT  DEALER’S  MANUAL 


33 


ing  the  election,  shall  levy  the  same,  which  levy 
shall  be  placed  upon  the  tax  list  and  collected 
as  other  taxes.  The  tax  thus  voted  shall  not 
exceed  one  mill  on  the  dollar  upon  the  assessed 
valuation  of  the  taxable  property  within  the 
county.  If  a monument  shall  be  erected,  then 
there  shall  be  inscribed  thereon,  or,  if  a hall  be 
erected,  recorded  therein,  the  names  of  all  de- 
ceased soldiers  and  sailors  who  have  died  or  may 
hereafter  die,  and  who  enlisted  or  entered  the 
service  from  the  county,  and  such  other  names  of 
soldiers  and  sailors  as  may  be  directed  by  the 
grand  army  posts  of  the  county. 

The  State  of  Nebraska  has  also  passed 
a similar  law,  which  was  successfully  pro- 
moted by  the  Monument  Dealers’  Associa- 
tion, and  which  reads  in  full  as  follows : 
SENATE  FILE  NO.  18. 

A bill  for  an  act  to  authorize  the  erection  of 
statues  and  monuments  commemorating  the  services 
of  the  soldiers  and  sailors  of  the  Civil,  Spanish- 
American  and  World  Wars,  by  counties,  townships, 
cities  and  villages,  and  to  repeal  Sections  5221 
and  5225  of  the  Revised  Statutes  of  Nebraska  for 
1913.  Introduced  by  Senator  Charles  A.  Chappell. 

Section  1.  All  counties,  townships,  cities  and 
villages  of  Nebraska  are  hereby  authorized  to 
erect  or  aid  in  the  erection  of  statues,  monu- 
ments, or  other  memorials  commemorating  the 
services  of  the  soldiers  and  sailors  of  the  Civil, 
Spanish-Ameriean  or  World  Wars,  to  be  located 
upon  the  public  lands  or  within  the  public  build- 
ings within  such  county,  township,  city  or  village. 

Sec.  2.  The  Board  of  Supervisors  or  Com- 
missioners of  any  county,  the  electors  of  any 
township  at  the  annual  or  special  township  meet- 
ing, the  Commissioners,  Council  or  Trustees  of 
any  city  or  village,  may  by  proper  resolution,  mo- 
tion or  ordinance  decide  to  erect,  or  aid  in  the 
erection  of,  any  such  statue,  monument  or  othei 
memorial.  Such  resolution,  motion  or  ordinance 
shall  specify  the  general  features  and  plan  of  such 
statue,  monument  or  other  memorial,  its  proposed 
location,  its  probable  cost  and  the  amount  thereof 
to  be  paid  by  such  county,  township,  city  or  vil- 
lage; the  resolution,  motion  or  ordinance  shall 
thereafter  be  published  once  in  the  official  paper 
of  the  county,  city  or  village  and  twenty  days 
after  the  date  of  the  publication  the  proper  au- 
thorities shall  be  authorized  and  are  hereby  em- 
powered to  levy  a tax,  in  addition  to  the  taxes 
otherwise  authorized  to  be  levied,  upon  the  tax- 
able property  of  such  county,  township,  city  or 
village,  to  pay  the  amount  so  to  be  paid  by  such 
county,  township,  city  or  village,  in  like  manner 
as  general  taxes  are  levied,  or  to  pay  such  amount 
from  the  general  fund. 

Sec.  3.  No  money  shall  be  so  raised  or  expended 
as  provided  in  Section  2 hereof,  until  the  explica- 
tion of  twenty  days  after  the  passage  or  adoption 
of  such  resolution,  motion  or  ordinance  authoriz- 
ing the  same,  and  if  within  that  time  a petition 
shall  be  filed  with  said  Supervisors  or  Commis- 
sioners of  the  county  or  the  Commissioners,  Coun- 
cil or  Trustees  of  the  city  or  village,  signed  by 
fifteen  per  cent  of  the  legal  voters  of  said  county, 
city  or  village,  asking  that  such  proposition  be 
submitted  to  a vote  of  the  people,  then  such  prop- 
osition shall  not  become  effective  until  it  shall 
have  been  approved  by  a majority  of  those  voting 
thereon  at  the  next  general,  special,  city  or  vil- 
lage election  held  more  than  thirty  days  after  the 
filing  of  said  petition,  and  such  proposition  shall 
be  submitted  to  a vote  of  the  people  of  the  county, 
city  or  village  upon  filing  of  such  petition. 

Sec.  4.  Whenever  there  shall* be  filed  with  any 
Board  of  Supervisors  or  Commissioners  of  the 
county,  or  the  Commissioners,  Council  or  Trustees 
of  the  city  or  village,  a petition  signed  by  ten 


per  cent  of  the  voters  of  such  county,  city  or 
village,  asking  for  the  erection,  or  aid  for  the 
erection  of  any  such  statue,  monument  or  other 
memorial,  and  describing  the  same  as  hereinbefore 
set  forth,  the  Supervisors  or  Commissioners  of  the 
county  or  the  Commissioners,  Council  or  Trustees 
of  the  city  or  village  shall  without  delay  proceed 
therewith,  subject  to  the  referendum  petition  of 
fifteen  per  cent  of  the  voters,  as  provided  in  Sec- 
tion 3 hereof,  or  shall  without  delay  provide  for 
the  submission  of  such  proposition  to  a vote  of  the 
people  at  the  next  general,  special,  city  or  village 
Section  occurring  not  less  than  thirty  days  after 
the  filing  of  such  petition,  and  if,  when  so  sub- 
mitted, it  shall  be  approved  by  a majority  of  those 
voting  on  such  proposition  it  shall  be  proceeded 
with. 

Sec.  5.  Propositions  submitted  to  a vote  of  the 
people  under  this  act  shall  be  submitted  yin  like 
manner  on  the  ballot  as  under  the  general  initia- 
tive and  referendum  law. 

See.  6.  That  Sections  5224  and  5225  of  the  Re- 
vised Statutes  of  Nebraska  for  1913  are  hereby 
repealed. 

Tennessee  has  also  passed  a similar  law. 
County  courts  in  Tennessee  are  authorized 
to  appropriate  as  much  as  $25,000  as  a 
fund  for  the  erection  of  a suitable  memo- 
rial to  the  living  and  dead  American  sol- 
diers who  served  in  the  World  War.  This 
is  provided  in  a bill  introduced  in  the  leg- 
islature by  Representative  S.  M.  Leath,  of 
Anderson  and  Morgan  counties,  and  which 
has  been  enacted  into  law  by  the  legisla- 
ture. 

The  bill,  which  applies  to  all  counties  in 
the  state,  provides  that  all  money  appro- 
priated shall  be  used  exclusively  for  the 
erection  of  a suitable  memorial.  It  is  fur- 
ther provided  that  before  any  part  of  the 
appropriation  shall  be  paid  out  of  the 
county  treasury  there  must  be  filed  with 
the  county  trustee  a detailed  estimate  of 
every  cost  and  expense  of  the  memorial 
and  that  detailed  vouchers  must  be  ap- 
proved by  the  county  judge. 

It  is  stated  in  the  bill  that  five  reputable 
citizens  over  twenty-one  years  of  age  shall 
be  elected  by  county  court,  who  shall  con- 
stitute'' a county  commission  whose  duty  it 
shall  be  to  superintend  the  construction  of 
the  memorial. 

No  part  of  the  fund  is  to  be  used  for  the 
purchase  of  land,  the  bill  provides,  and 
all  persons  accepting  custody  or  control 
over  all  or  part  of  the  appropriation,  who 
misappropriate  any  part  of  the  fund,  shall 
be  guilty  of  a felony  and  upon  conviction 
shall  be  sentenced  to  the  state  penitentiary 
for  from  one  year  and  a day  to  two  years, 
which  penalty  may  be  commuted  to  six 
months  in  the  workhouse,  and  be  fined  $50, 
which  when  collected  shall  be  paid  into  the 
county  school  fund. 


CELTIC  INTERLACED  ORNAMENT. 


It  is  well  known  that  the  intricate  and 
beautiful  designs  generally  called  “Celtic 
interlacing  work’’  are  used  with  endless 
variety  on  all  remains  of  ancient  Irish  art, 
whether  in  stone,  metal  work,  or  illumin- 
ated manuscripts.  A remarkable  discovery 
of  the  principle  underlying  all  such  de- 
signs— the  foundation  on  which  the  ancient 
artists  invariably  worked — was  some  years 
ago  made  in  Ireland. 

The  greatest  living  authority  concerning 
Celtic  art  and  history,  Miss  Margaret 
Stokes,  has  proved  that  the  notion  which 
so  long  prevailed,  that  the  interlaced  work 
which  marks  early  Christian  art  in  Ireland 
originated  there,  “must  be  forever  aban- 
doned.” “Certain  varieties  of  such  de- 
signs,” she  adds,  “were  developed  in  Ire- 
land, and  if  they  were  to  appear  in  any 
part  of  the  Continent  ...  it  would 
be  on  the  tombs  of  the  founders  of  Irish 
monasteries  on  the  Continent.  But  these 
Irish  varieties  do  not  appear  on  the  tombs 
of  Columban  and  his  followers  at  Bobbio. 
The  interlacings  on  the  marbles  are  in  no 
way  different  from  those  which  over- 
spread Italy  in  the  period  of  Lombardic- 
Romanesque  architecture,  before  the  sixth 
and  seventh  centuries.  It  would  be  diffi- 
cult to  prove  that  any  such  designs  pre- 
vailed in  Ireland  before  the  seventh  cen- 
tury. They  are  not  found  on  pre-Chris- 
tian remains  in  that  country,  although 
they  are  in  Italy.  They  appear  to  have 
been  gradually  introduced  into  Ireland 
along  with  Christianity  at  a time  when 
this  style  still  lingered  in  the  south  of 
Europe.” 

This  ornamentation  may  therefore  be 
called  Italo-Bizantino,  or  Lombardic-Ro-' 
manesque,  since,  in  the  periods  so  termed 
by  authorities  on  the  history  of  Italian 
architecture,  “interlaced  bands,  knots  and 
other  designs  which  we  are  accustomed 
to  call  Irish  and  Celtic  are  of  frequent 
occurrence,  and  in  places  whose  history  is 
not  connected  with  that  of  any  Irish  mis- 
sionary we  know  of.”  It  is  found,  in  pre- 
cisely similar  designs  to  those  abounding 
in  Ireland,  on  a door  of  San  Clemente,  at 
Rome,  A.  D.  650;  on  a balustrade  of  the 
ninth  century  of  Sta  Maria  in  Trastevere, 
and  on  many  fragments  preserved  in  the 
Lateran  and  other  museums. 

There  is  no  doubt,  however,  that  when 
introduced  (probably  in  the  seventh  cen- 
tury, and  by  pilgrims  returning  from 


Rome)  into  Ireland,  this  special  character 
of  decoration  was  there  developed  in  an 
extraordinary  manner,  with  the  utmost  in- 
genuity, and  by  artists  whose  subtle  sense 
of  beauty  brought  the  art  to  wonderful 
excellence  especially  in  golden  chalices  and 
ornaments,  and  in  illuminations. 

Of  some  of  these,  in  the  “Book  of  Kells,” 
one  of  the  greatest  treasures  in  Trinity 


FIG.  5.  FIG.  6.  FIG.  7. 

College,  Dublin,  Mr.  J.  O.  Westwood  says: 

I have  counted  in  a space  scarce  % of  an 
inch  in  length  by  less  than  V2  an  inch 
wide,  no  fewer  than  158  interlacements  of 
a slender  ribbon  pattern,  formed  of  white 
lines  edged  with  black  ones.  The  inven- 
tion and  skill  far  surpasses  all  found  in 
ancient  manuscripts  by  continental  artists. 

Everything  is  pressed  into  the  service  of 
this  decorative  work,  even  eight  human 
figures,  of  which  the  thirty-two  limbs  form 
the  interlaced  work  filling  the  panel  to  be 
decorated ; but  there  was  evidently  some 
underlying  and  never  failing  principle 
forming  the  basis  of  every  pattern,  how- 
ever intricate,  which  had  not  been  grasped 
even  by  those  most  devoted  to  Celtic  art. 

To  take  as  an  example  one  of  the  most 
beautiful  specimens  extant  of  the  “endless- 
ribbon  pattern”  in  a panel  on  the  Cross  of 
Tuam  (Fig.  1). 

This  is  composed  of  one  or  more  rib- 
bons without  ends,  interlaced  so  as  always 
to  cross  under  and  over  alternately.  If, 
beginning  in  any  corner  or  any  spot,  the 
pattern  is  traced  with  a pencil,  it  will  ar- 
rive back  at  the  starting  point,  the  whole 
of  the  ribbon  having  been  marked ; and  it 
will  be  found  that,  while  the  latter  seemed 
during  the  tracing  to  wander  in  apparent- 
ly, the  most  reckless  and  aimless  way  about 
the  surface,  it  had  really  arranged  itself 
into  an  intelligible  and  orderly  pattern  de- 
void of  repetition,  but  containing  a general 
harmony  throughout — one  knot  or  twist 
balanced  by  a corresponding  though  total- 
ly different  one ; while  all  through  the 
bands  cross  one  another  alternately  under 
and  over,  without  a single  break. 

To  explain  the  process  in  a few  words. 


MONUMENT  DEALER’S  MANUAL 


35 


The  artist  first  covers  the  space  to  be 
decorated  with  lines  crossing  one  another, 
and  woven  in  and  out  like  basket-work. 
Fig.  2 gives  the  plain  basket-work  that 
formed  the  foundation  of  the  pattern  on 
the  Tuam  Cross  (see  Fig.  1).  He  then  pro- 
ceeds to  join  all  the  ends  two  and  two  to- 
gether. In  Fig.  3 is  shown  by  dotted 
lines  the  manner  in  which  this  is  done. 
Finally,  the  artist  obliterates  crossings 
here  and  there,  joining  the  ends  thereby 


fig.  1. 


Cross.  Every  knot,  every  winding  is 
there,  and  it  is  all  one  ribbon. 

The  Tuam  Cross  pattern  was  intended 
to  fill  a square  or  oblong,  and  the  foun- 
dation of  it  was,  as  we  have  seen  (Fig. 
2),  composed  entirely  of  straight  lines. 
But  this  special  kind  of  decoration  is  also 
well  adapted  for  circular  spaces.  We  give 
a specimen  of  the  work,  drawn  by  Mr. 
Trench  to  illustrate  the  paper  read  by  him 
on  the  subject  (Fig.  5). 


FIG.  2. 


FIG.  3.  fig.  4. 


set  free  in  a manner  differing  from  that 
which  they  originally  followed.  A glance 
at  Fig.  4 will  make  this  process  clear. 
It  will  be  seen  that  it  is  a tracing  from 
Fig.  3 except  that  the  crossings  obliterated 
in  the  completed  design  are  shown  by 
faint  lines,  while  the  subsequent  joinings 
are  shown  by  dotted  lines.  If  this  be  now 
compared  with  Fig.  1,  it  will  be  seen  that 
the  design  is  the  same,  and  that  we  have 
easily  and  exactly  followed  the  method 
by  which  the  artist,  between  one  and  two 
thousand  years  ago,  turned  the  simple 
basket-work  of  Fig.  2 into  the  elaborate 
and  beautiful  decoration  on  the  Tuam 


In  the  foundation  for  this  pattern  there 
is  not  a single  straight  line.  It  consists 
of  two  concentric  circles  and  four  ovals 
(Fig.  6). 

It  is  notable  that  while  in  the  completed 
oblong  pattern  (Fig.  1)  the  greater  part 
of  the  original  foundation  remains,  it  is 
so  much  obliterated  in  the  circular  pattern 
that  it  is  not  easy  to  perceive  the  process 
by  which  Fig.  5 has  grown  out  of  Fig.  6. 
It  will,  however,  be  seen  at  once  by  a 
glance  at  Fig.  7,  where  as  before  in  Fig. 
4,  the  portions  of  the  foundation  obliter- 
ated are  shown  by  faint  lines,  and  the  sub- 
sequent joinings  by  dotted  lines. 


36 


MONUMENT  DEALER’S  MANUAL 


If  the  faint  lines  be  entirely  erased  the 
exact  pattern  of  Fig.  5 remains. 

Yet,  as  Mr.  Trench  remarks,  “anyone 
can  join  the  ends,  anyone  can  obliterate 
crossings,  but  the  excellence  of  the  pat- 
terns consists  in  the  skill  with  which  these 
processes  are  carried  out,  and  herein  lies 
the  art.”  The  excellence  attained  in  the 
incomparable  ancient  specimens  remaining 
of  this  art  do  indeed  show  skill,  as  well 
as  something  far  higher. 


It  is  possible  that  some  possessing  this  ^ 
rare  gift  may  use  the  discovery  which  has 
been  made  to  produce  decoration  as  lovely 
and  as  varied  as  that  of  old;  but  for  this 
a master’s  hand  is  needed,  and  the  instinct 
of  poetic  genius.  No  knowledge  of  the 
rules  of  metre  in  poetry,  or  skill  in  using 
them,  would  have  given  “Rose  Aylmer” 
or  “Auld  Robin  Gray”  to  the  world. — The 
Architect  and  Contract  Reporter. 


CROSSES  — THEIR  DESIGN  AND  MEANING. 


Fig.  4.  Fig.  5. 


Fig.  6.  Fig.  7. 


Fig.  8. 


There  is  no  symbol  more  generally  in 
use  among  designers  of  monumental  sculp- 
ture than  the  cross.  It  is  claimed  for  it, 
that  it  was  known  to  all  peoples  and  in  all 
lands,  centuries  before  the  crucifixion  of 
Jesus  of  Nazareth  made  it  the  symbol  of 
Christianity.  And  if  we  accept  the  Swas- 
tika as  a form  of  the  cross  (as  many  as- 
sert it  to  be),  this  claim  must  be  allowed. 
The  Swastika  (Fig.  1)  is,  in  fact,  the 
earliest  known  symbol  of  any  kind.  It 
consists  of  a cross  with  arms  of  equal 
length  and  width,  bent  at  right  angles. 
It  was  used  everywhere  as  a sign  of  good 
augury  and  benediction.  It  seems  to  be 
not  generally  known  that  it  has  been 
adopted  as  a Christian  symbol,  and  it  is 
not  generally  used  as  such.  But  to  the 
present  writer  it  appears  that  it  might  be 
accepted  as  a sculptural  design,  signifying 
in  secular  work,  good  augury ; and,  in  a 
religious  connection,  benediction. 

What  is  knows  as  the  Tau  or  St.  An- 
thony's Cross  (Fig.  2)  is  likewise  more 
ancient  than  Christianity,  having  been  used 
in  Egypt  under  the  name  of  canob  (from 
the  god  Canopus),  and  as  the  symbol  of 
the  future  life.  It  is  not  a form  of  cross 
that  lends  itself  readily  to  a decorative 
purpose. 

The  Crux  commissa,  or  Latin  cross 
(Fig.  3),  is  the  most  generally  accepted 
Christian  symbol,  and  the  other  forms  of 
crosses  are  probably  derived  from  it  by 
the  same  natural  process  by  which  all 
decorative  motives  are  envolved  from  some 


simple  ancient  form  of  decoration.  Proper- 
ly formed,  the  transverse  beam  of  the 
Latin  cross  is  one-third  the  length  of 
the  upright  portion  from  the  top,  and  its 
arms  are  of  equal  length  with  the  upright 
above  them.  If  the  cross  be  intended  to 
stand  upright,  its  pedestal  should  be  made 
in  the  form  of  steps,  and  is  then  known 
technically  as  a Calvary. 

The  Crux  decussata  (Fig.  4),  is  of  the 
form  of  the  letter  X.  It  is  known  more 
generally  as  the  St.  Andrew’s  cross  (some- 
times as  St.  Patrick’s),  and  in  heraldry  as 
Saltier.  It  is  the  national  emblem  of  Scot- 
land. 

The  four  arms  of  the  Crux  immissa 
(Fig.  5),  or  Greek  cross,  are  of  equal 
length.  When  each  arm  is  composed  of  a 
perfect  quadrilateral,  it  is  called  the  St. 
George’s  cross  (Fig.  6).  St.  George  of 
Cappadocia  is  the  recognized  saint  of  Eng- 
land. A cross  of  this  form  refers  to  the 
four  quarters  of  the  earth  to  which  Chris- 
tianity was  sent  by  means  of  the  four  Evan- 
gelists and  their  four  Gospels. 

The  Maltese  cross  (Fig.  7),  the  badge 
of  the  Knights  of  Malta,  is  composed  of 
four  spear-heads  meeting  at  their  points ; 
and  the  eight  points  thereof  are  intended 
to  symbolize  the  eight  beatitudes. 

These  forms  of  the  cross  have  many 
variations  in  heraldry.  The  cross  of  Jer- 
usalem (Fig  8)  is  composed  of  four  Tau 
crosses  joined  at  their  bases,  and  is  known 
in  heraldry  as  the  cross  Potent.  The 
Latin  Crosslet  (Fig.  9)  is  a beautiful  form 


MONUMENT  DEALER'S  MANUAL 


37 


of  cross  for  use  as  a decorative  motive. 
There  is  a Greek  crosslet  (Fig.  10)  like- 
wise. The  terms  “Bottony,  Pommee  and 
Fouchee,”  applied  in  heraldry  to  crosses, 
refer  to  the  ornamentation  upon  the  arms 
of  the  cross.  And  this  suggests  an  im- 
portant point  for  the  consideration  of 
those  who  have  occasion  to  use  the  cross 
as  a Christian  symbol.  The  fleur-de-lys, 
or  other  Aeration  or  foliation  of  the  arms 
of  the  cross,  signifies  the  Cross  Glorified 
— as  the  cross  was  when  He  who  was 
crucified  thereon  rose  from  the  dead. 
Hence,  it  is  the  proper  symbol  of  the 
Church  whose  central  doctrine  is  the  Res- 
urrection and  not  the  Crucifixion,  and  it 
would  seem  to  be  the  proper  form  for  use 
in  monumental  art  rather  than  the  more 
severe  form  of  the  Latin  or  Greek  cross. 

The  cross  is  sometimes  doubled  (Fig. 
11)  and  tripled,  (Fig.  12).  The  double 
form  is  called  in  heraldry  Patriarchal.  It 
is  the  symbol  of  office  of  Archbishops  and 
Cardinals.  The  triple  cross  is  the  symbol 
of  the  Papacy. 

The  Greek  letter  Chi  is  often  made  in 
form  of  a cross  in  its  combination  with 
the  Greek  letter  Rho ; and  the  sacred  mon- 
ogram thus  formed  of  the  first  two  letters 
of  Christos  is  sometimes  (though,  improp- 
erly) called  the  Cross  of  Constantine  (Fig. 

13). 

The  intersection 
of  the  arms  of  the 
cross  are  often 
enclosed  within  a 
circle.  The  circle 
represents  Eter- 
nity. When  the 
cross  is  made  to 
occupy  a promi- 
nent place  upon  a 
shield,  the  shield 
becomes  the  sym- 
bol of  the  Shield 
of  Faith. 

In  the  adoption 
of  the  upright 
Latin  cross  for 
monumental  pur- 
poses, a difficulty 
arises  which  it  is 
impossible  to  over- 
come. If  the  mon- 
ument be  not  ac- 
tually unenduring, 
it  will  have  that 


appearance  however  permanent  the  mate- 
rial may  be  in  fact.  This  gives  to  the 
recumbent  cross  the  great  advantage,  be- 
sides its  furnishing  a richer  field  for  ar- 
tistic treatment. 

A form  of  cross  which,  for  monumental 
purpose,  has  come  into  great  popularity 
of  recent  years  is  that  called  the  Celtic. 
It  is  probably  derived  from  the  Oransay 
Cross,  said  to  have  been  erected  by  St. 
Columbia  in  one  of  the  isles  of  western 
Scotland  in  the  sixth  century.  It  is  still 
standing.  These  Celtic  crosses  have  short 
arms  in  proportion  to  the  height  and  the 
circle  (Fig.  14).  They  have  the  appear- 
ance of  frailty,  though  they  are  cut  in  very 
durable  granite.  They  are  further  char- 
acterized by  exquisite  interlaced  ribbon 
carving  thereon.  To  design  one  of  these 
Celtic,  Runic  or  Ionian  interlaced  figures, 
or  even  to  copy  the  design  of  another,  is 
no  easy  matter.  But  the  effect  is  most 
gratifying  when  accomplished. 

L.  Viajero 


Fig.  14. 


DRAFTING  AND  DESIGNING 

SECTION 


EASY  WAY  TO  DRAW  BORDER 
LINES  ON  DIES. 

A line  to  be  drawn  on  a die,  marker,  etc., 
for  a border  or  margin,  also  for  different 
kinds  of  tracing,  when  straight  parellel 
lines  are  required,  can  be  much  easier  ac- 
complished and  more  accurately,  also  more 
speedily  drawn  by  using  a small  chisel  held 
under  the  rule,  by  the  hand,  which  also 
holds  both  chisel  and  rule  against  the  side 
of  the  stone,  than  by  measuring  with  a 
rule  for  every  line  and  then  using  a 
straight  edge  to  draw  the  lines.  A rule 
with  a chisel  held  as  illustrated  can  be 


used  on  all  straight  surfaces  and  on  round 
planes.  No  other  way  is  there  so  accurate 
to  draw  a line  on  top  of  an  oval  top  die  or 
marker  with  any  success  as  by  using  this 
method.  Always  hold  the  chisel  tightly 
against  the  rule,  at  the  same  time  with  the 
same  hand  hold  the  chisel  against  the 
stone.  With  the  other  hand  hold  a pencil 
or  scratcher  if  working  on  marble.  By 
practice  one  can  save  time  and  worry  us- 
ing this  system. 

* * * 

HOW  TO  FIND  THE  CENTER  OF 
A CIRCLE. 

Very  often  it  is  necessary  in  the  draw- 
ing room  or  shop  to  find  the  center  of 
a circle,  a disk  or  a piece  of  shafting,  etc., 
when  the  diameter  is  not  given.  Below 
are  three  ways  in  which  this  can  be  done : 
The  first,  Fig.  1,  is  the  method  usually 
used.  It  consists  of  two  right  triangles 
drawn  so  that  their  angles  are  in  the  cir- 
cumference of  the  circle  as  a,  b,  c,  and  d, 


e,  f.  The  point  where  their  hypotenuses 
intersect  is  the  center  of  the  circle. 

The  second  method  is  shown  in  Fig.  2. 
Draw  any  chord  as  a,  b,  and  take  two 


points  on  it  as  c,  d,  equidistant  from  its 
ends.  At  these  two  points  erect  perpen- 
diculars to  a,  b,  cutting  the  circle  at  e,  f,  g 
and  h.  Then  draw  e,  h,  and  f,  g,  and  the 
point  where  they  intersect  will  be  the 
center  of  the  circle. 

Fig.  3 is  similar  to  Fig.  2.  Draw  any 
two  chords  as  a,  b,  and  c,  d,  and  at  their 
centers  erect  perpendiculars  to  them.  The 
point  where  the  perpendiculars  meet  will 
be  the  center  of  the  circle. 

* * * 

HANDLING  DRAWINGS  ON  THIN 
PAPER. 

“In  pasting  designs  on  paper  other  than 
heavy  cardboard,  I find  it  is  impossible  to 
make  a neat  job;  wrinkles  will  show  and 
the  paper  jvill  have  a tendency  to  warp. 
I have  used  both  the  white  paste  and  mu- 
cilage. Will  you  please  enlighten  me  on 
this  subject?  Is  it  the  paste  or  mucilage 
I am  using  or  do  I apply  it  incorrectly? — 
J.  C.,  O.” 

It  does  not  make  much  difference  what 
kind  of  paste  one  uses,  but  library  paste 
is  generally  preferred.  To  stick  thin  paper 
one  must  prepare  the  edges  by  turning  them 
up  on  the  four  sides  and  folding  at  least 
one-half  inch  in.  Then  put  the  paste  on 
these  turned-up  edges ; next  dampen  the 
paper  over  the  surface  very  evenly.  Should 
it  be  a drawing  that  the  water  will  spoil, 
dampen  it  on  the  back  side.  Be  careful 
that  the  water  does  not  touch  the  turned- 
up  edges  that  hold  the  paste.  Place  the 
paper  in  the  required  place  and  weight  it 
down  with  some  large  books ; do  not  re- 
move the  books  until  the  paper  is  dry. 


MONUMENT  DEALER’S  MANUAL 


39 


Another  way  is  to  use  paste  over  differ- 
ent parts  of  the  paper  and  place  it  on 
the  proper  place  also  placing  books  on  it 
so  that  the  paper  will  stay  straight  until 
dry.  Wrinkles  will  not  appear  if  this  is 
done  correctly  and  carefully.  J.  W. 

* * * 

DRAWING  ELLIPSES  AND  OVALS. 

A very  practical  ellipse  for  monumental 
draftsmen  is  one  that  is  constructed  from 
a square.  First  draw  a square,  then  draw 
a circle  in  it  which  touches  at  four  sides. 
Next  draw  the  center  division  lines  each 


six  inches  high.  This  would  make  the  ex- 
act measurement  wanted.  Should  you  want 
the  ellipse  to  be  eight  inches  in  height,  the 
same  plan  would  be  used,  except  the  lower 
rectangle  would  be  first  drawn  eight  inches 
high.  Very  long  forms  can  be  drawn  only 
by  drawing  the  rectangle  two  or  four 
inches  high.  This  same  system  is  used  to 
draw  an  upright  ellipse.  The  illustration 
shows  this.  The  same  square  is  used  and 
the  rectangle  is  made  the  required  length. 
This  last  form  is  often  required  to  be 
drawn  on  the  face  of  a monument  some- 
times very  large.  One  will  find  when  hav- 


HOW  TO  DRAW  ELLIPTICAL  FORMS. 


way,  then  the  two  transversal  lines  from 
the  comers.  At  a point  where  these  trans- 
versal lines  touch  the  circle  is  the  point 
used  for  the  construction  of  the  ellipse. 
All  the  perpendicular  lines  are  drawn  be- 
low the  square  and  a rectangle  formed. 
The  center  lines  and  transversal  lines  are 
found  again  in  this  rectangle  and  from 
these  points  the  ellipse  is  drawn  freehand 
from  point  to  point.  This  is  the  best  way 
to  draw  an  ellipse  for  the  stone  shop,  be- 
cause you  can  draw  one  to  any  given 
measurement.  If  one  was  to  be  drawn  one 
foot  long  and  six  inches  wide,  you  would 
only  have  to  construct  the  square  one  foot 
in  measurement  and  the  rectangle  below  it 


ing  one  to  draw  that  if  he  will  make  the 
square  and  rectangle  on  a large  piece  of 
paper  first,  then  trace  or  make  a pattern, 
that  it  will  be  much  better  than  trying  to 
sketch  it  direct  on  the  stone  freehand. 

S.  M,  Mo. 

■jf.  ^ * 

I have  a way  of  drawing  an  ellipse  that 
does  away  with  all  off-hand  lines.  The 
accompanying  diagram  shows  how  it  op- 
erates : The  diagonal  and  horizontal  lines 

represent  strings.  Get  the  center  line  both 
ways  and  place  dividers  at  point  No.  1 ; 
get  No.  3 and  get  points  Nos.  4 and  4; 
set  dividers  at  points  Nos.  4 and  4 and 


METHOD  OF  DRAWING  AN  ELLIPSE. 


40 


MONUMENT  DEALER’S  MANUAL 


draw  a string,  point  No.  5,  and  tie  it; 
place  pencil  in  string  and  draw  the  ellipse 
as  this  was  done.  This  rule  works  on  any 
length  or  breadth  desired. 

A method  for  getting  a perfect  oval  de- 
vised by  L.  Walkup,  is  as  follows : “Draw  a 
vertical  line  the  desired  length  of  oval, 
mark  ends  A and  B.  Bisect  and  mark  point 
C.  From  C draw  a horizontal  line  half  of 
desired  width  of  oval,  designate  end  of 
this  line  D.  Now  measure  from  this  point 
D a distance  equal  to  one-half  the  length 
of  oval  (or  the  distance  from  A to  C) 
back  to  the  vertical  line  between  A and  C 
and  mark  with  a dot  E.  Do  likewise  from 
D to  line  between  C and  B and  make  a dot 
F.  Drive  pins  in  these  dots  E and  F.  If 
working  on  marble  or  other  material  where 
the  pins  ma}r  not  be  driven  in,  put  a drop 
of  hot  sealing  wax  on  the  place  where  t1 
pin  is  to  be  stuck.  The  wax  will  secure 
the  pin  for  making  the  oval  and  can  be 
removed  without  damage  to  the  stone.  Tie 
a thread  designated  by  dotted  lines,  with  a 


small  loop  at  each  end,  the  exact  length 
of  the  oval,  place  a loop  over  each  pin, 
stretch  the  string  with  a pencil  point  and, 
keeping  it  tight  on  both  pins,  draw  from 
A to  D to  B.  This  forms  half  the  oval; 
repeat  for  other  side.” 

* * * 

In  the  course  of  our  practical  experience 
in  monumental  work  it  is  often  necessary 
to  lay  out  an  oval  or  ellipse,  and  it  fre- 
quently happens  that  the  best  method  is  not 
ready  to  mind  or  accessible  otherwise.  But 
it  is  always  advisable  to  retain  such  neces- 
sary information  in  the  memory  or  filed 
away  for  immediate  reference.  The  sev- 
eral given  herewith  will  be  found  accurate 
in  results  and  simple  in  method  of  pro- 
cedure : 

Figure  1. — Draw  the  horizontal  line  A B, 
the  length  of  the  oval  or  ellipse  is  to  be 
made.  Divide  the  line  A B into  two  equal 


parts  with  a vertical  line  C-D.  Make  this 
line  the  length  that  is  desired  for  the  thick- 
ness of  the  ellipse.  With  the  point  of  in- 
tersection of  the  lines  A-B  and  C-D  as  a 
center  strike  a circle  just  touching  the 
points  A and  B.  With  the  same  center 
strike  a circle  touching  at  points  C and  D. 
From  the  center  of  these  circles  strike 
radii,  three  of  which  are  marked  E.  The 
more  of  these  radii  drawn  the  easier  to  get 
a correct  ellipse.  Draw  these  radii  to  the 
outer  circle.  Where  the  radii  touch  the 
outer  circle  draw  vertical  lines  in  toward 
the  line  A-B  (not  parallel  to  it.)  Where 
the  radii  cross  the  inner  circle  draw  hori- 
zontal lines  out  from  the  circle  until  they 
meet  the  vertical  lines  from  the  outer  cir- 
cle. Where  the  vertical  and  horizontal  lines 
meet  we  get  the  points  for  the  oval  or 
ellipse.  Connect  these  points  free  hand  and 
you  have  the  ellipse  or  oval. 

Fig.  2. — Draw  the  horizontal  line  A-B 
the  length  the  ellipse  is  to  be  made.  Di- 
vide the  line  A-B  at  the  center  with  the 
vertical  line  C-D,  making  this  line  the 
length  that  is  desired  for  the  width  of  the 


c e 

• i i 


FIGURE  2. 


MONUMENT  DEALER’S  MANUAL 


41 


ellipse,  having  it  divided  at  the  center  by 
the  line  A-B.  Where  the  lines  A-B  and 
C-D  cross  mark  E.  Take  a strip  of  paper 
and  put  the  point  A on  it.  From  A mark 
off  to  the  right  the  distance  A-E  and  make 
E.  From  E mark  off  to  the  left  the  dis- 
tance E-C  or  E-D  and  mark  C.  Place  the 
paper  onto  the  horizontal  and  vertical  lines 
A-B  and  C-D,  so  that  the  point  A on  the 
paper  will  just  touch  the  line  C-D  and  the 
point  C on  the  paper  just  touching  the  line 
A-B.  Where  the  point  E strikes  is  one 
point  in  the  ellipse.  Revolve  the  paper 
around  always  keeping  the  point  A on  the 
line  C-D  and  the  point  C on  the  line 
A-B.  Where  E comes  will  be  a point 
in  the  ellipse.  The  diagram  shows  the 
paper  placed  on  in  four  positions.  This 
method  is  very  easy  and  saves  making 
many  lines.  E.  S.  Sampson. 

❖ * * 

SIMPLE  METHOD  OF 
ENLARGMENT. 

The  fully  equipped  draughting  room  is 
invariably  supplied  with  one  or  more  of  the 
enlarging  devices  which  may  be  bought  at 
various  prices  from  dealers  in  drawing  in- 
struments. These  devices  serve  their  pur- 
pose with  varying  success  according  to 
their  own  merits  and  the  skill  of  the  opera- 
tor. It  is  in  such  places  as  these  instru- 
ments are  to  be  found  that  they  are  least 
necessary,  since  the  draughtsman  in  charge 
is  presumably  capable  of  rendering  an  en- 
largement without  their  aid,  and  frequently 
does  so,  which  is  an  argument  in  favor  of 
the  method  here  explained. 

The  retail  dealer  whose  business  does 
not  warrant  the  employment  of  a skilled 
draughtsman  frequently  has  occasion  to 
enlarge  a picture  of  a monument,  either  a 
photo  or  a reproduction,  which  he  has 
clipped  from  Monumental  News.  His  cus- 
tomer was  favorably  impressed  with  the 
small  picture  and  only  required  to  see  the 
same  on  a large  scale, — with  Mr.  Custom- 
er’s name  shown  thereon,  mayhap, — in  or- 
der to  become  a buyer.  This  may  be  easily 
accomplishd  as  follows : 

Referring  to  Fig.  1 which  represents  a 
die  and  is  chosen  for  the  first  example  be- 
cause of  its  simplicity : a-b-c-d-e-f-g  rep- 
resents the  small  picture  of  the  die  which 
it  is  required  to  enlarge.  First  arrange  the 
paper  on  which  the  finished  drawing  is  to 
be  made,  tacking  it  down  to  the  drawing 
board.  Cut  out  the  picture  in  the  outline 
of  a rectangle  which  will  just  contain  it, 
i.  e.,  along  the  lines  m-n-y-x,  next  draw 


the  diagonals  m-y  and  n-x  which  will  de- 
termine the  center  C.  Now  affix  the  small 
picture  to  the  board  on  top  of  the  sheet 
for  the  finished  drawing,  so  that  their  cen- 
ters coincide,  and  so  that  any  of  the  ver- 
tical lines, — as  c-f, — are  vertical  when  test- 
ed with  T-square  and  triangle.  Now  drive 
a pin  firmly  into  the  board  at  the  center 
point  C (a  black  headed  steel  pin  will  make 
a smaller  hole  in  the  paper),  and  draw  the 
radiating  lines  C-a,  C-b,  C-c,  C-d,  etc.  Let 
us  assume  that  the  enlargement  is  to  be 
two  times  the  size  of  the  original  as  in  the 
case  of  Fig.  1.  Having  drawn  all  the  radi- 


CUBE,  ENLARGED  TO  TWICE  THE  ORIGINAL. 


ating  lines  through  the  principal  points  of 
intersection  or  corners  of  the  stone,  meas- 
ure the  distance  accurately  from  the  cen- 
tral point  of  C to  a,  and  then  extend  the 
line  that  distance  further  to  a which  is  the 
apex  of  the  die  in  our  enlargement,  just  as 
a is  the  apex  of  the  small  original. 

The  point  c'  may  be  found  in  the  same 
way,  viz. : measure  the  distance  C-c  and 
extend  the  line  C-c  its  own  length  to  c\ 
As  soon  as  the  points  are  determined  con- 
nect them  with  straight  lines  a'-c',  and  as 
soon  as  point  b'  is  located  it  should  be  con- 
nected with  both  points  a and  c\  This 
method  will  establish  any  or  all  points  in 
the  picture  and  when  properly  connected, 
an  enlargement  is  secured  which  is  abso- 
lutely correct. 

The  enlarged  drawing  may  be  tested  for 
accuracy  by  comparing  the  similar  lines  of 
the  two  drawings.  For  example,  b'-c' 
should  be  exactly  twice  the  length  of  b-c 
and  parallel  to  it ; so  with  e-f  and  e'-f'. 
For  still  further  accuracy  the  vanishing 
points  may  be  determined,  or  at  least  one 
of  them  as  V.  P.  and  V'  P'.  The  method 
of  finding  these  points  is  the  same  as  has 
been  described  for  finding  the  other  points, 
it  being  assumed  that  the  reader  is  cog- 
nizant of  the  nature  and  uses  of  the  van- 
ishing point.  If  he  is  not,  let  him  either 
ignore  the  matter  or  inform  himself  by 
any  good  book  on  perspective,  which  may 
be  obtained  from  the  book  shops  of  the 
larger  cities. 


42 


MONUMENT  DEALER’S  MANUAL 


Referring  to  Fig.  2 we  have  a stone,  or 
rather  two  stones,  base  and  die,  of  quite 
different  proportions,  and  yet  the  result  is 
as  accurate  and  direct  as  in  the  case  of 
Fig.  1.  It  will  be  found  by  close  examina- 
tion that  the  point  C in  Fig.  2 is  not  ex- 
actly in  the  center  of  the  rectangle  a-b-c-d, 
nor  is  it  essential  that  it  should  be,  except 
that  the  novice  will  find  it  easier  to  observe 
the  rule  of  centering  this  point  until  he  is 
thoroughly  familiar  with  the  method,  after 
which  it  may  be  taken  at  random,  though 
preferably,  near  the  center  as  above  de- 
scribed. 

Short  cuts  will  suggest  themselves  to  the 
draughtsman,  viz. : Fig.  2.  Having  estab- 
lished point  e',  f'  may  be  determined  by 
drawing  a line  through  e'  parallel  through 
to  the  line  e-f  until  it  meets  the  line  C-f'  in 
f\  So  through  the  point  e'  draw  e'-g' 
parallel  to  e-g  and  so  on  with  the  various 
lines  in  the  picture. 


Figure  3 illustrates  the  same  principle 
applied  to  a Classic  memorial  and  enlarged 
three  times  its  original  size.  The  method 
being  the  same  except  that  the  various  lines 
are  extended  three  times  their  original 
length  instead  of  twice  as  in  the  Figures  1 
and  2.  In  enlarging  such  a design  as  Fig. 
3 it  is  wise  to  block  out  such  details  as  the 
capitals  of  the  pilasters  and  merely  deter- 
mine the  large  dimensions  of  them,  work- 
ing the  detail  out  free-hand. 

If  it  be  undesirable  to  cut  a picture  down 
as  described  it  may  be  tacked  down  on  the 


board  and  a very  transparent  tracing  paper 
used  over  it,  upon  which  the  enlargement 
may  be  made  and  when  finished  it  may  be 
either  transferred  to  a sheet  of  heavier 
paper  or  mounted  upon  cardboard  and 
inked  in.  The  stencil  paper  used  by  air 
brush  designers  is  apt  to  be  too  opaque  for 
convenience  unless  the  small  drawing  hap- 
pens to  be  in  black  and  white,  i.  e.,  not 
half-tone. 

It  should  be  noted  that  enlargements  may 
be  made  in  this  manner  to  any  size  either 


one  and  a fraction  times  the  original  or 
many  times,  or  with  equal  facility  the  draw- 
ing may  be  reduced  in  size  by  decreasing 
the  length  of  the  radiating  lines  propor- 
tionately. 

The  only  instruments  necessary  for  do- 
ing the  work  described  are  such  as  are 
to  be  found  in  nearly  every  monument 
shop, — a T-square  triangle,  (preferably  of 
celluloid),  a foot  rule  or  scale,  a drawing- 
board  and  a sharp  pencil.  A proportional 
divider  is  a great  help,  especially  when 
making  fractional  enlargements  though  not 
essential. 

This  principle  is  based  upon  the  geo- 
metrical theorem  that,  two  triangles,  hav- 
ing an  angle  of  one  equal  to  an  angle  of 
the  other,  and  their  homogeneous  sides  in 
proportion,  are  similar — which  is,  of  course, 
easily  demonstrated  by  one  familiar  with 
geometry. 

In  the  case  of  curved  lines,  the  enlarge- 
ment is  made  by  taking  points  in  these  lines 
and  connecting  the  established  points  in 
the  enlargement.  Robert  L.  Cook. 


QUICK  WAY  OF  FIGURING  ODD  SCALES. 


Often  the  necessity  arises  for  figuring  up 
a design  to  another  scale  than  the  one  by 
which  it  is  laid  out;  to  find  what  dimen- 
sions of  parts  correspond  to  a given  change 
of  total  height  or  base,  or  vice-versa.  Most 
draftsmen  and  estimators  keep  an  assort- 
ment of  the  usual  scales  on  hand,  but  when 
none  of  these  will  apply,  a special  scale 
must  be  made.  The  ordinary  method  of 


full  12"  divisions,  so  as  to  have  the  com- 
plete scale  of  units  and  12ths  if  entire 
accuracy  is  desired,  though  for  practical 
purposes  the  3",  6"  and  9"  divisions  are 
enough,  the  intermediate  numbers  being 
put  in  by  eye.  The  inch  divisions  may  be 
at  either  end,  but  I prefer  them  as  shown.) 

Through  A draw  A C,  at  any  angle. 
Tick  off  on  the  edge  of  a strip  of  paper, 


doing  this  is  by  successive  stepping  off  with 
dividers,  until  the  desired  result  is  found. 
This  is  not  difficult  when  one  is  working 
with  integral  numbers,  but  it  is  otherwise 
when  fractional  parts  are  involved.  Thus, 
if  a certain  line  represents  ten  feet,  it  is 
simple  to  reduce  this  to  five  feet,  by  doub- 
ling the  scale;  for  instance,  calling  a half- 
inch scale,  inch  scale.  But  to  reduce  from 
10  feet  to  9.3"  means  stepping  the  original 
line  37  times,  for  one  must  take  the  3",  or 
quarter  foot,  as  the  unit. 

The  method  here  explained  is  not  new, 
nor  is  it  familiar  to  many  who  may  find  it 
of  advantage. 

The  principle  is  that  of  geometrically 
“similar”  triangles,  which  are  always  pro- 
portional. 

For  example,  the  shaft  of  an  obelisk  de- 
sign measures  2.9"  at  the  bottom,  on  the 
elevation  drawing  to  I.V2"  scale;  it  is  re- 
quired to  find  a new  scale  which  will  make 
the  shaft  2.6". 

First  draw  a horizontal  line,  A B,  Fig. 
1,  on  which  tick  off,  from  the  I.V2"  scale, 
2.9".  (It  is  usually  better  to  include  the 


2". 9"  by  the  scale  (the  whole  distance, 
without  sub-divisions),  and  transfer  to  A. 
C.  This  gives  the  point  X. 

Now  draw  from  Y (which  is  2.6  on  the 
old  scale)  a straight  line  to  X (which  be- 
comes 2.6  on  the  new  scale),  and  through 
1,  0,  and  the  subdivisions  of  0-12,  parallel 
lines  to  X Y. 

The  intersections  of  these  lines  with  A. 
C.  O.  give  corresponding  divisions,  and 
the  required  new  scale. 

The  parallelism  of  the  other  lines  with 
X.  Y.— which  is  absolutely  essential,  may  be 
secured  by  a parallel  ruler,  or  by  sliding 
the  hypothenuse  edge  of  a triangle  along 
a T-square  or  other  straight  edge,  properly 
placed. 

For  the  reverse  operation,  to  make  a re- 
duced scale  for  the  enlargement  of  2.2" 
to  2.10",  take  A X = 2.2",  A Y = 2.10" 
join  X Y and  proceed  as  before. 

Other  applications  of  the  principle  will 
readily  suggest  themselves,  and  may  be 
worked  out  by  substituting  the  desired  di- 
mensions in  these  formulae. 

C.  B.  Canfield. 


DRAWING  LODGE  EMBLEMS. 


Fig.  31. 

MASONIC  LODGE  EMBLEMS. 


Emblems  of  different  lodges  which  are 
constantly  demanded  by  customers  to  be 
cut  on  monuments  are  quite  difficult  to 
draw,  but  with  the  proper  drafting  they 
should  not  be  much  trouble  to  execute  on 
stone.  The  Masonic  emblem,  Fig.  31,  with 
the  compass  and  square,  is  very  simple  and 
is  generally  cut  in  a circle.  To  draw  this 
commence  by  making  the  circle  the  re- 
quired size,  then  sketch  lightly  the  com- 
pass; sketch  the  square  next,  and  by  sev- 
eral light  strokes  of  the  pencil  it  will  then 
be  in  fairly  good  form.  After  the  center 
line  has  been  correctly  drawn  measure  the 
distance  of  the  ends  of  the  compass  so  each 
measure  the  same  distance  from  the  cen- 
ter. The  bottom  of  the  square  should  not 
be  as  far  down  as  the  compass  ends.  This 
is  at  an  angle  of  45  degrees  and  must  be 
drawn  so  that  ends  will  be  at  half  the  dis- 
tance of  the  length  of  the  compass.  The 
letter  G is  drawn  last.  An  emblem  of  this 
order,  which  is  required  to  be  out  of  the 
ordinary  in  design,  is  drawn  like  Fig.  32. 

Royal  Arch  Masons’  emblems  are  drawn 
like  Fig.  33;  first  draw  the  circle,  then  the 
keystone,  lastly  adding  the  lettering.  One 
that  requires  decoration  is  drawn  the  same. 
The  keystone  first,  the  letters  next,  then  the 
decoration. 

The  Knights  Templar  emblems  in  Fig. 
35  are  among  the  most  difficult  to  draw  for 
the  reason  that  there  is  so  much  detail  in 
their  construction.  The  proper  drafting  is 
of  great  importance  and  one  will  discover 


if  he  does  not  familiarize  himself  with  the 
entire  emblem  and  practice  drawing  it 
many  times  that  it  will  be  so  difficult  when 
the  occasion  arises  to  put  it  on  stone,  that 
the  attempt  will  be  crude  and  primitive. 
It  will,  of  course,  show  up  even  more 
poorly  when  executed  by  a cutter  who  has 
less  knowledge  of  its  construction,  even 
than  the  man  who  draws  it. 

It  is  a fact  that  in  many  monumental 
plants  when  an  emblem  is  needed  there  is 
a hunt  for  a picture  of  the  one  desired; 
when  discovered  it  is  given  to  the  drafts- 
man to  copy  in  pencil  with  the  idea  that 
“it  will  pass;  just  so  long  as  it  is  accepted 
by  a customer  it  is  good  enough.”  Such 
sentiments  as  these  are  detrimental  to  any 
one’s  business  and  to  monumental  art. 

The  first  one  illustrated  is  managed  by 
drawing  a rectangle.  Then  each  corner  is 
separated  and  drawn  in  the  direction  of 
the  rectangle’s  center.  Next  the  cross  and 
crown  is  lightly  sketched  in,  getting  the 
proper  proportions  of  each.  The  top  piece 
is  drawn  last.  When  all  the  necessary  lines 
have  been  sketched  proceed  to  draw,  with 
a clean-cut,  sharp  line  throughout,  correct- 
ly. The  letters  are  drawn  last. 

The  crown  should  be  drawn  by  using 
two  parallel  curved  lines  in  forming  the 
top  and  bottom ; then  the  two  ends  form- 
ing a rectangle.  The  length  is  horizontal. 
When  this  is  accomplished  the  detail  is 
easily  drawn  by  placing  dots  for  each  ball 
and  a line  for  the  bottom  of  each  curve. 


No.  1.  No.  2. 

FIG.  36.  OONSTSTORY,  32D  DEGREE  EMBLEMS. 


FIG  35.  KNIGHT’S  TEMPLAR  EMBLEMS. 


MONUMENT  DEALER'S  MANUAL 


45 


One  should  have  no  trouble  with  top  as 
the  contour  is  a circle  with  an  ellipse 
drawn  upon  it.  No.  2 is  more  complicated 
but  is  drawn  the  same  in  the  beginning  as 
No.  1.  The  cross  is  on  a slant  and  there 
are  also  daggers  inserted  at  the  two  top 
corners  going  under  the  cross  and  crown 
and  coming  out  at  the  two  lower  corners. 
The  detail  of  the  top  is  also  a little  differ- 
ent from  No.  1 but  this  is  all  drawn  last, 
after  the  rectangle  has  been  drawn. 

The  Consistory  32nd  Degree  emblem, 
Fig.  36,  No.  1,  is  a figure  built  on  a rec- 


FIG.  37.  PAST  MASTER’S  FIG,  38.  PAST  GRAND 
EMBLEM.  HIGH  PRIEST’S  EMBLEM 

tangular  form.  The  eagle  with  two  heads 
and  one  body  is  quite  a difficult  drawing. 

Do  not  become  confused  in  trying  to 
draw  both  sides  alike  by  free  hand.  First 
make  a good  outline  of  one  side  from  a 
center  line  and  then  use  thin  tracing  pa- 
per, covering  the  side  drawn  and  making 
the  lines  as  you  see  them  through  the  pa- 
per. Lift  this  up  and  turn  the  tracing  pa- 
per over  and  draw  the  lines  as  you  see 
them  through  the  paper.  This  reverses  the 
drawing.  This  first  side  drawn  is  placed 
on  the  paper  and  by  using  a hard  lead  pen- 
cil for  a stylus  mark  all  lines  correctly, 
pressing  hard  to  insure  a good  impression. 
The  tracing  paper  is  then  removed — the 
impression  is  made  more  definite  by  mark- 
ing over  the  lines  with  a sharp  pointed  pen- 
cil completing  the  eagle.  The  small  tri- 
angle form  with  the  figure  32,  and  the 
swrord  and  ribbon  are  drawn  last. 

All  should  be  sketched  before  making  a 
finished  drawing  of  any  one  part.  An- 
other form  of  this  order  is  No.  2.  The 
rectangle  is  here  discarded  and  the  eagles 
are  drawn  larger.  No.  1 is  best  for  tracing 
and  No.  2 is  the  simplest  to  carve.  The 
Past  Master’s  emblem,  Fig.  37,  consists  of 


a long  rectangle.  One  side  can  be  drawn 
first  and  tracing  paper  used  as  explained 
above  for  the  other  side.  It  consists  of  a 
plate  with  the  letter  G attached ; below  is 
the  compass  and  rule ; also  the  head  and 
circle  with  its  details. 

The  Past  Grand  High  Priest’s  emblem, 
Fig.  38,  is  also  drawn  in  rectangle.  This  is 
a very  difficult  drawing  for  the  reason  that 
the  human  figure  is  represented,  which  is 
hardest  of  all  to  draw.  The  figure  and 
eagle  with  out-stretched  wings  and  the 
shield  with  the  decoration  at  the  bottom  is 


FIG.  39.  ANCIENT  ARABIC  ORDER  OF  NOBLES. 
MYSTIC  SHRINE. 


a small  rectangle  built  on  the  circle  below. 
Do  not  try  to  draw  the  leaves  in  the  wreath 
until  two  lines  have  been  drawn  forming 
the  two  sides.  The  leaves  are  then  kept 
in  place.  These  leaves  are  in  clusters  and 
after  you  have  one  cluster  drawn  tracing 
paper  can  be  used  to  draw  the  others. 
There  is  no  need  for  reversing  the  paper 
for  all  are  the  same. 

The  urn  on  the  right  side  is  also  difficult 
to  draw  but  by  drawing  a center  line,  then 
sketching  in  lightly  the  outline  of  one  side 
and  tracing  the  other  side  it  is  easily  drawn. 
The  two  drawings,  Fig.  39,  of  the  Ancient 
Arabic  Order  of  Nobles,  Mystic  Shrine, 
are  of  the  same  construction.  Their  dif- 
ference lies  in  the  detail  only. 

The  emblem  most  used  in  the  Eastern 
Star  Lodge,  Fig.  40,  No.  1,  is  constructed 
on  a circle,  which  is  drawn  first.  Then 
draw  the  five-pointed  star  inside  of  this 
circle.  Find  the  exact  place  for  each  point 
by  using  a compass,  dividing  the  circle  into 
five  parts.  Then  draw  from  point  to  point 
measured  on  the  circle.  The  inside  forms 
a geometrical  figure  into  which  is  a rostrum 
upon  which  an  open  book  is  drawn.  All 
five  parts  of  the  star  have  a different  unit 


46 


MONUMENT  DEALER’S  MANUAL 


which  must  be  carefully  drawn.  Another 
form,  No.  2,  is  a large  G with  the  five- 
pointed  star  attached  by  each  point  with 
the  same  detail  except  that  a compass  and 
square  displace  the  rostrum  and  book.  The 
letter  G is  drawn  first  and  the  inside 
forms  the  circle  for  the  star.  The  detail 
in  the  star  is  then  carefully  drawn  to  com- 
plete the  emblem. 

The  Past  Grand  Patron  emblem,  Fig. 
41,  is  built  up  from  a rectangle.  After  the 
head  piece  has  been  slightly  sketched  the 
five-pointed  star  is  drawn.  . Then  the 
small  border  around  it.  The  inside  of  the 
star  is  quite  complicated  and  the  geometri- 
cal figure  touches  the  inside  of  the  begin- 
ning of  each  point  and  the  compass  and 
square  are  drawn  within.  Inside  of  each 
sectional  point  are  drawn  the  same  fig- 
ures as  in  Fig.  40,  No.  1.  The  Past  Matron 
emblem,  Fig.  42,  is  drawn  the  same  as 
Fig.  41  except  in  some  of  the  detail.  The 
figure  inside  has  a mallet  and  at  the  in- 


FlG.  41.  PAS’!1  ©BAND  FiG.  '42.  PAST  MATRON’S 

PATRON.  EMBLEM. 

tersection  of  each  point  are  drawn  leaves. 
These  should  not  be  difficult  after  draw- 
ing them  several  times.  Each  time  one  is 
drawn  there  will  be  seen  some  mistake  in 
your  former  practice  until  you  can  draw 
an  emblem  correctly. 

Emblems  as  a rule  are  very  difficult  to 
draw,  when  one  tries  to  execute  them  di- 
rectly on  stone,  because  the  lines  are  hard 
to  correct.  Always  draw  them  correctly 
on  paper,  for  they  must  be  sketched  light- 
ly to  get  them  into  shape  and  proportion 
before  any  definite  lines  are  used.  No 
draftsman  can  draw  any  complicated  sub- 
ject correctly  without  first  lightly  sketch- 
ing in  the  big  masses.  The  Independent 
Order  of  Odd  Fellows’  emblem,  Fig.  43, 
should  not  be  difficult  to  draw.  It  is  a 
simple  object,  but  if  it  is  not  started  cor- 
rectly difficulties  will  be  met  with.  When 
beginning  to  draw  this  it  must  be  looked 
at  as  a square  rectangle  and  when  sketch- 


ing this  rectangle  which  you  must  do,  be 
sure  you  get  the  right  proportion  with  the 
four  straight  lines  needed  to  get  the  top, 
bottom  and  sides.  These  are  the  most  im- 
portant of  any  of  the  lines  you  will  use. 
When  the  correct  shape  of  the  rectangle 


FIG.  40.  EASTERN  STAR  EMBLEMS. 

has  been  drawn  proceed  by  finding  the 
center  and  draw  a line  perpendicularly 
from  the  top  to  the  bottom.  Then  light- 
ly sketch  at  the  out  side  of  the  form  all 
the  curves  and  straight  lines  needed  to 
get  a correct  outline.  With  a sharp  pencil 
point  draw  out  these  lines  for  the  finished 
drafting.  The  other  side  must  be  drawn 
to  correspond  with  the  first  side.  This  is 
accomplished  by  using  tracing  paper  as 
has  already  been  explained.  The  three 
links  are  not  difficult  to  draw  but  they 
must  be  started  right  or  you  will  have 
trouble.  Begin  by  finding  the  center  of 
the  rectangle  and  then  draw  the  middle 
link,  then  connect  the  top  and  the  bottom 
one  to  it.  Fig.  43,  No.  2,  is  another  form  of 
an  emblem  used  for  the  same  lodge  and, 
as  No.  1,  after  drawing  the  rectangular 
form,  the  tent  and  the  detail  will  follow. 
The  tent  is  in  perspective  and  must  be  so 
drawn  so  as  to  look  as  if  it  had  the  third 
dimension.  By  making  the  folds  smaller 
as  they  recede  it  gives  the  appearance  of 
being  round,  not  flat.  Perspective  will  be 
fully  explained  later  on.  The  Past  Grand 
emblem  of  the  Independent  Order  of  Odd 
Fellows,  Fig.  44,  No.  1,  would  be  a simple 
drawing  if  it  were  not  for  the  hand.  The 
small  rectangle  at  the  top  must  be  sketched, 
then  the  circle  for  the  star.  Do  not  at 
once  use  a compass  to  draw  the  circle  but 
sketch  a circle  free  hand  so  you  can  tell 
what  proportion  you  want.  The  star  must 
be  lightly  sketched,  also  the  hand  before 
any  finishing  lines  are  drawn.  After  the 
rectangle  and  the  star  have  been  finished 
correctly  you  will  have  great  difficulty  with 
the  hand.  A good  hand  is  nearly  as  hard 
to  draw  as  a head  and  can  not  be  drawn 
anywhere  near  correctly  until  one  has  some 
knowledge  of  the  bones  and  muscles,  also 


MONUMENT  DEALER’S  MANUAL 


47 


of  the  planes.  By  holding  your  own  hand 
for  a model  one  can  be  drawn  successful- 
ly. Fig.  44,  No.  2,  Rebekah  Degree  Inde- 
pendent Order  Odd  Fellows  is  quite  com- 
plicated and  must  .first  be  very  carefully 
sketched  in.  Each  part  must  be  the  right 
proportion  and  if  it  is  not  they  will  not 
hold  their  place  in  the  drawing.  Three  links 
are  used  to  represent  the  perpendicular 


FIG  43;  INDEPENDENT  ORDER  OF  ODD 
FELLOWS. 


FIG.  45. 

No.  1.,  Masonic  and  No.  2.  Uniform  Rank, 
I.  O.  O.  F.  K.  of  P. 

bar  for  the  larger  “D”  and  the  “R”  is 
drawn  over  and  under  these  links.  To 
draw  the  bird  do  not  start  at  the  head, 
completing  it,  then  the  body,  lastly  adding 
the  wings.  But  draw  a line  from  the 
head  through  to  the  end  of  the  tail,  two 
lines  for  the  breast  and  bottom  of  the 
tail,  also  two  lines  for  the  wings,  one 
vertical  and  one  nearly  horizontal.  These 
lines  will  represent  the  direction  and  size 
of  the  different  surfaces.  The  head  is 
then  drawn,  then  the  detail  of  each  wing 
outside  and  inside.  All  lines  representing 
feathers  are  drawn  last.  Fig.  45,  No.  1, 
the  Mason  and  Odd  Fellow  emblem  com- 
bined, is  simple.  The  explanation  of  the 
square  and  compass  has  already  been 
given.  No.  2,  Fig.  45,  is  a uniform 
rank  Knights  of  Pythias  emblem.  It  is 
very  easily  drawn  but  full  of  detail.  Like 
the  other  emblems  the  detail  is  not  im- 
portant until  the  last.  In  the  drafting,  one 


side  of  this  should  be  drawn  first  and 
the  other  transferred.  No.  1,  Fig.  46,  is 
another  emblem  of  the  same  order  and 
the  only  difference  is  the  detail.  The  open 
book  must  be  drawn  open,  showing  top 
and  two  sides,  it  cannot  be  drawn  show- 
ing top  and  bottom  alike,  except  as  a 
straight  line  for  each.  The  reason  for  this 
is  one  can  see  both  sides  of  an  open  book, 


No  l.  No.  2. 

FIG.  44;  REBEKAH  DEGREE, 
INDEPENDENT  ORDER  OF  ODD  FELLOWS. 


No.  1.,  Knights  of  No.  2.,  Past  Chancellor, 

Pythias.  K.  of  P. 


for  the  leaves  form  a slanting  line  enabling 
the  eye  to  include  both  sides.  If  they 
were  square  like  the  bottom  and  top  they 
would  also  be  drawn  as  a straight  line, 
showing  no  thickness  unless  a view  was 
taken  of  it  from  one  side.  Then  that  side 
would  show  thickness  while  the  other  side 
would  still  be  a straight  line.  No.  2,  Fig. 
46,  Past  Chancellor,  Knights  of  Pythias 
emblem,  is  very  hard  to  draw  and  will 
require  a great  deal  of  study  to  do  so. 
The  outside  form  has  the  essential  lines 
for  the  beginning.  The  head  and  shoulders 
of  the  man  in  armour  are  then  sketched, 
then  the  eagle,  lastly  the  smaller  detail. 
To  draw  the  eagle,  think  of  the  long  lines 
in  a mass,  not  the  smaller  ones  only,  until 
all  large  lines  have  been  drawn  represent- 
ing fully  the  size  and  proportion  of  the 
outside.  This  eagle  is  in  a crouching  po- 
sition, having  the  appearance  of  going  to 
fly  at  once.  The  fierceness  of  an  eagle 


48 


MONUMENT  DEALER’S  MANUAL 


No.  1.  Pythian  Sisters.  No.  2.  Knights  of 
Maccabees. 


No.  1;  Ladies  of 
Modern  Maccabees. 


48. 

No.  2;  Ladies  of 

Maccabees. 


head  is  made  by  drawing  the  bill  large 
and  with  a decided  crook.  Also  make  the 
eyes  large,  with  the  brows  long  and  low 
down.  Fig.  47,  No.  1,  Pythian  Sisters’ 
Auxiliary  to  Knight  of  Pythias  emblem,  is 
a square  in  a circle  for  the  first  sketch. 
The  corners  of  the  square  are  then  drawn, 
and  lastly  the  crown  and  other  smaller 
detail.  The  bottom  of  the  crown  which 
gives  appearance  as  being  round  is  a circle 
in  perspective  drawn  as  an  ellipse.  No. 
2,  Fig.  47,  is  a Knights  of  the  Maccabees 
emblem.  The  only  difficult  part  is  the 
hand  and  to  use  your  hand  as  a model  as 
instructed  before  will  be  difficult.  You  can 
not  get  your  left  hand  in  the  position 
wanted.  Therefore  you  must  use  your 
right  hand  held  in  front  of  a mirror,  and 
the  hand  you  see  in  the  mirror  will  be 
reversed  giving  the  proper  position.  One 
will  have  to  look  at  the  hand  and  then 
use  your  pencil  drawing  from  memory. 

Fig.  48,  No.  1,  Ladies  of  Modern  Macca- 
bees’ emblem,  is  a simple  drawing  and 
should  be  drawn  without  any  instructions. 

No.  2,  shown  in  Fig.  48,  is  the  Ladies 
of  Maccabees’  emblem,  and  is  composed 
of  some  very  difficult  drawing.  The 
bird  has  not  the  same 
action  as  the  one  at 
Fig.  44,  but  the  in- 
structions as  to  long 
lines  and  large  mass- 
es must  not  be  over- 
looked. The  clasped 
hands  are  the  most 
difficult  of  any  detail 
of  an  emblem  illus- 
trated. One  cannot 
clasp  his  own  hands 
in  a position  wanted, 
therefore  you  must 
resort  to  copying 
them  line  for  line 
from  another  draw- 
ing, or  have  two  peo- 
ple pose  with  clasped 


hands  and  draw  from  them.  This  is  the 
better  way,  and,  in  fact,  to  draw  any  natur- 
alistic object  it  is  always  best  to  draw 
from  the  object  itself  than  copy  other 
people’s  lines. 

The  official  design  of  the  Woodmen  of 
the  World,  as  adopted  by  the  Sovereign 
Camp,  is  the  stump  with  the  Latin  term 
below  the  same,  as  shown  in  the  accom- 
panying illustration. 

The  design  required  to  be  placed  upon 
the  monuments  of  this  order  is  the  total 
showing  in  the  picture  circling  the  stump. 
This  is  placed  upon  the  face  of  all  Wood- 
men of  the  World  monuments  in  accord- 
ance with  Section  70  of  the  Constitution 
and  Laws  of  the  Order,  adopted  May,  1907. 
The  “V”  sunk  circles  and  letters  between 
must  be  cut  not  less  than  one-eighth  of  an 
inch  deep  and  the  stump  raised  not  less 
than  three-eighths  of  an  inch.  The  circle 
must  not  be  less  than  eight  inches  in  diam- 
eter. 

* * % 

DRAWING  AN  OCTAGON  OR 
HEXAGON. 

Often  in  drawing  out  the  details  of  some 
monument  or  other  piece  of  granite  work 
it  is  necessary  to 
make  a plan  of  an 
octagon  or  hexagon. 
To  do  this  by  the 
usual  geometrical 
method  is  time 
wasted. 

In  the  case  of  an 
octagon  the  simplest 
plan  is  to  describe  a 
circle  of  the  same 
diameter  as  the  de- 
sired octagon  and 
with  the  T-square  set 
off  lines  A and  B at 
a tangent  to  the  cir- 
cle. With  the  45° 
triangle  set  off  lines 
C and  D.  These  form 


OFFICIAL  EMBLEM  FOR  WOODMEN  OF 
THE  WORLD  MONUMENTS. 


MONUMENT  DEALER’S  MANUAL 


49 


four  sides  of  the  octagon  and  it  is  now  only- 
necessary  to  reverse  the  triangle  and,  using 
the  T-square  as  a guide,  lay  down  the  lines 
E,  F,  G and  H,  also  tangential  to  the  circle. 
The  octagon  is  then  complete. 

A hexagon  may  be  drawn  in  a similar 
manner  with  the  60°  triangle,  but  in  this 


A 


DRAWING  AN  OCTAGON  OR  HEXAGON. 


case  it  is  only  necessary  to  set  out  lines  A 
and  B before  using  the  triangle. 

A.  S.  Hill. 

* * * 

DRAWING  A FIVE-POINTED  STAR. 

To  properly  draw  a five-pointed  star  first 
draw  with  a compass  a circle  the  required 


DRAWING  FIVE  POINTED 
STAR. 


measurement.  Then  draw  a perpendicular 
line  through  the  center.  Find  equal  dis- 
tances for  five  points,  beginning  at  the  top 
center.  Draw  a line  from  the  top  center 
to  the  lower  right  point,  then  to  the  lower 
left  point.  Next,  a line  horizontally  to  the 
upper  points  at  each  side  and  connect  them 
with  the  lower  right  and  the  lower  left. 
This  is  a form  often  used  in  the  monu- 
mental business  and  often  very  poorly 
drawn.  W.  C 

* ❖ * 

FINDING  A 45  DEGREE  ANGLE. 

If  one  has  a 45  degree  angle  to  be  cut 
on  a joint  of  a stone  or  lines  for  decora- 
tion, a quicker  way  to  measure  is  with  the 
rule  rather  than  with  a mitre  square,  be- 
cause every  time  one  has  to  draw  a line 
the  square  has  to  be  reset,  and  then  it  is 


HOW  TO  MEASURE  TO  GET  A 45  DE- 
GREE ANGLE. 


rarely  at  exactly  the  proper  place.  By  the 
method  of  rule  measurement  the  exact 
mitre  is  found.  Supposing  the  stone  cop- 
ing is  4 inches  wide,  all  one  has  to  do  is 
to  measure  4 inches  back  from  the  end ; 
then  draw  a line  from  the  end  corner  to 
the  measurement  on  the  other  side  of  the 
stone.  This  gives  a true  45  degree  angle. 
If  a stone  is  very  wide  one  can  make  two 
measurements  about  6 feet  or  1 foot,  as 
illustrated,  and  connect  the  corners;  then 
by  running  a line  from  the  outside  corner 
to  this  point,  making  the  line  continuous, 
it  will  be  the  right  angle  at  any  given 
place. 


SIMPLE  PERSPECTIVE  IN 

As  the  old  receipt  has  it,  “To  cook  a 
hare,  first  catch  your  hare,”  and  to  draw 
a monument  you  must  first  have  in  your 
mind  the  shape  the  work  is  to  take.  In  this 
first  case  we  will  make  use  of  one  already 
built,  and  standing  in  the  yard,  so  that  we 
can  see  how  much  our  picture  will  look 
like  the  original.  We  first  measure  it,  and 
get  the  sketch  shown  in  Fig.  1. 

This  will  be  recognized  as  a type  of  mon- 
ument very  generally  selected,  and  so  I 


suppose  it  will  be  as  good  as  any  to  start 
with,  and  not  too  full  of  detail  to  be  con- 
fusing. To  draw  anything  to  scale,  we 
must  know  what  relation  in  size  the  orig- 
inal thing  and  drawing  are  to  bear  to  each 
other,  and  the  first  thing  to  decide  is  the 
scale  you  wish  to  use.  This  you  will  find 
to  be  one  and  one-half  or  two  inches  to 
the  foot  in  actual  practice,  but  in  this  case 
we  will  draw  it  to  the  scale  of  one  inch  to 
the  foot,  which  will  be  still  further  re- 
duced to  allow  the  drawing  to  appear  in 
these  pages.  To  follow  out  these  instruc- 
tions as  an  exercise  draw  the  work  to  a 
one  and  one-half  or  two-inch  scale. 

As  scale  drawing  bears  a fixed  relation- 
ship of  size  to  the  object  drawn,  the  use 
of  the  one-inch  scale  will  make  all  the 
parts  of  the  drawing  one-twelfth  of  the 
actual  size  of  the  stone.  Knowing  the 
measurements  of  the  different  parts,  we 
can  construct  the  elevation,  which  may  be 
called  the  mould  of  the  monument,  needing 
only  to  be  enlarged  in  scale  to  make  a full 
size  working  drawing  for  the  stone-cutter. 

We  turn  our  rule  around  to  the  side  upon 


MONUMENTAL  DRAWING. 

which  the  one-inch  scale  is  marked,  and 
after  drawing  a line  across  the  paper  at 
the  bottom,  which  will  be  the  grade-line, 
and  one  at  right  angles  to  it  up  and  down 
the  board,  we  begin  our  measurements.  We 
refer  to  our  memoranda  and  find  the  lower 
base  of  the  proposed  drawing  to  be  three 
feet  six  inches  square,  and  so  we  lay  off 
at  equal  distances  on  both  sides  of  the 
center  line  point  SV2  inches  from  each 
other.  Each  stone  is  laid  off  in  the  same 
way  on  each  side  of  the  center  line,  and 
the  heights  of  the  same  also,  until  every 
part  of  the  monument  is  reduced  to  the 
scale.  The  line  drawn  through  the  center 
divides  the  monument  into  two  parts, 
which  are  exactly  alike,  and  is  drawn  there 
in  the  beginning  simply  for  convenience  in 
arranging  the  stones  concentrically.  As 
this  monument  is  square  in  plan  there  is 
no  necessity  of  drawing  more  than  one 
side,  as  they  are  all  alike. 

This  elevation  with  its  accompanying 
plan,  as  shown  in  Fig.  2,  is  used  in  the 
construction  of  the  perspective,  and  it 
would  be  well  to  make  elevations  and  plans 
for  practice  before  trying  for  the  per- 
spective. Ordinarily  the  elevation  is  drawn 
first  and  the  plan  follows,  but  there  are 
times  in  the  designing  of  monuments 
when  a plan  is  the  first  consideration.  But 
this  plan  is  more  in  the  nature  of  a per- 
spective diagram,  and  it  is  taken  directly 
from  the  elevation  by  running  perpendicu- 
lars with  the  T square. 

We  will  now  take  up  the  perspective. 

The  plate  shown  as  Fig.  3 illustrates 
with  as  few  lines  as  possible  the  arrange- 
ment of  plan  and  elevation  described  with 
a view  to  making  perspective. 

The  plan  is  first  drawn  on  a separate 
piece  of  paper  and  fixed  to  the  top  of  the 
board  by  drawing  pins,  at  an  angle,  which 
represents  the  point  of  view.  In  practice, 
a little  more  of  the  front  than  of  the  side 
is  usually  shown,  although  it  would  sim- 
plify things  to  make  both  front  and  side 
equal.  With  the  plan  in  the  position  indi- 
cated in  the  plate,  draw  a line  across  the 
board  touching  the  extreme  point  of  the 
plan.  This  line  is  the  “picture  plane.” 

Now  the  distance  the  spectator  stands 
from  the  stone  is  to  be  determined  on,  and 
in  this  case,  for  the  sake  of  space,  it  is 
about  17  feet,  although  from  30  to  50  feet 
would  be  better  when  you  come  to  copy 
this.  If  the  line  A B is  drawn  at  right 
angles  to  the  picture  plane  from  the  cen- 


MONUMENT  DEALER'S  MANUAL 


51 


ter  of  the  plan,  and  17  feet  measured  on  it, 
in  the  same  scale  as  the  elevation,  the  point 
B will  be  known  as  the  “station  point,”  and 
will  represent  the  position  from  which  the 
monument  is  viewed.  This  point  can  be 
any  distance  desired  from  the  picture  plane. 
A pin  should  be  driven  in  here.  The  paper 


With  these  points  all  arranged  the  draw- 
ing of  the  perspective  begins.  The  first 
thing  to  be  done  is  to  draw  lines  from 
the  extremes  of  all  the  stones  in  the  plan 
in  the  direction  of  the  station  point  until 
they  meet  the  picture  plane.  This  puts  all 
the  parts  of  the  monument  in  the  same 


on  which  the  perspective  is  to  be  drawn  can 
be  tacked  down  anywhere  between  the  sta- 
tion point  and  the  picture  plane,  over  the 
line  A B.  For  convenience  the  elevation 
can  be  fixed  on  the  board  at  the  right  of 
this  paper,  and  the  line  drawn  directly 
from  it.  The  horizon  is  now  to  be  drawn. 
It  should  first  be  marked  on  the  elevation 
and  then  continued  indefinitely  across  the 
board.  This  line  is  supposed  to  be  the  level 
of  the  eye,  and  is  to  be  fixed  accordingly, 
though  in  this  case  it  is  only  two  feet  and 
seven  inches  above  the  grade  line.  It  is 
best  to  make  the  horizon  low  in  this  way, 
as  it  makes  the  monument  appear  to  stand 
on  an  elevation.  About  three  feet  is  a good 
height  for  ordinary  cases.  All  these  meas- 
urements, be  it  understood,  are  taken  in 
the  scale  of  the  elevation.  And  now  we  are 
at  liberty  to  fix  the  vanishing  points.  From 
the  station  point  to  the  picture  plane  draw 
the  lines  B C and  B E parallel  to  the  sides 
of  the  plan.  Where  these  lines  meet  the 
picture  plane  the  lines  C D and  E F are 
dropped  to  the  horizon,  and  at  the  ends  of 
these  lines  pins  are  driven.  The  points  D 
and  F are  vanishing  points.  All  horizontal 
lines  in  the  perspective  meet  at  one  or  the 
other  of  these  points. 


plane.  (It  is  a common  but  bad  practice 
to  run  the  lines  directly  from  the  plan.) 
From  where  these  lines  meet  the  picture 
plane,  perpendicular  lines  let  down  deter- 
mine all  the  vertical  lines  and  points  of 
the  drawing.  The  first  line  drawn  would 
be  one  from  the  corner  of  the  first  base 
where  it  touches  the  picture  plane.  Drop- 
ping this  down  to  the  grade  line  you  would 
get  the  corner  of  the  first  base  nearest  the 
eye,  and  a place  to  begin  the  construction 
of  the  drawing.  From  where  this  line  meets 
the  grade,  lines  are  run  off  to  the  vanish- 
ing points  in  either  direction,  and  you 
have  the  lower  lines  of  the  base  in  per- 
spective. The  sides  of  this  base  are  de- 
fined by  other  perpendiculars  dropped  from 
the  proper  points  on  the  picture  plane. 

Referring  to  the  drawing  there  should 
be  no  trouble  after  this  in  getting  the  ver- 
tical lines.  The  next  difficulty  is  learning 
to  measure  the  heights,  and  with  this  mas- 
tered everything  is  clear.  Any  stone  can 
be  put  in  its  proper  position  in  the  draw- 
ing in  the  following  manner : The  side  line 
of  the  stone  in  the  plan  is  extended  until 
it  touches  the  picture  plane.  From  this 
point  a line  is  dropped  to  the  grade  line. 
This  is  the  line  of  heights  for  this  stone. 


52 


MONUMENT  DEALER’S  MANUAL 


Suppose  it  is  the  die  we  are  getting.  The 
side  line  of  the  die  in  the  plan  is  extended 
to  the  picture  plane  at  X.  From  X a per- 
pendicular is  dropped  to  the  grade  line  with 
the  T square,  the  upper  and  lower  lines  of 
the  die  are  projected  across  from  the  ele- 
vation until  they  meet  the  line  of  heights  at 
Y Y ; from  these  points  they  run  to  the 
vanishing  point,  and  with  the  vertical 
lines  from  above  will  give  one  side  of  the 
stone.  The  other  way  to  the  vanishing 
point  gives  the  other  side. 

Notice  how  the  height  of  the  monument 
is  arrived  at  and  try  the  method  on  a larger 
piece  of  paper. 

* * * 

THE  PERSPECTIVE  SQUARE. 

The  illustration  given  here  shows  the  use 
of  the  perspective  square.  It  is  used  in- 
stead of  the  long  straight  edge  when  the 
vanishing  points  are  off  the  board.  The 
simplest  way  is  to  make  a small  drawing 
of  the  top  and  bottom  lines  and  find  the 
vanishing  point  on  the  board.  Then  for  the 


USING  THE  PERSPECTIVE  SQUARE. 


large  drawing  the  perspective  square  is 
useful  as  the  radius  lines  are  found ; two 
tacks  are  used,  one  for  each  prong  at  the 
left  to  the  square.  These  prongs  are  mov- 
able. By  moving  them  and  placing  the 
tacks  against  them  in  different  places  the 
proper  places  are  found  for  them.  The 
square  shows  in  the  illustration  only  for 
the  left  side.  The  prongs  are  at  the  top 
and  center.  But  for  the  right  side  they 
must  be  changed.  The  one  that  is  at  the 
top  now  should  be  taken  off  and  changed 
to  the  bottom,  which  will  be  the  top  for 
the  right  side. 

* * * 

I have  never  found  a perspective  square 
worth  its  price,  as  there  are  simpler  and  as 
practical  ways  of  avoiding  the  use  of  a 
long  straight  edge  in  perspective  drawing, 
to  reach  a vanishing  point  that  is  off  of 
the  drawing  board. 

First : A long,  strong  thread  tied  at  one 
end  to  a tack  on  the  vanishing  point  can 
be  used  to  give  the  location  of  the  different 


radii  on  the  edge  of  the  paper,  and  from 
the  points  so  found  a short,  straight  edge 
can  be  used  to  draw  the  actual  lines.  This 
is  a very  practical  way. 

Second : With  the  vanishing  point  as  a 
center,  draw  the  arc  of  a circle  on  the  outer 
edge  of  the  drawing  board  and  use  an  or- 
dinary short  T square  from  this  arc  to  ob- 
tain the  perspective  lines.  The  ruling  edge 
of  the  T square  should  be  in  the  center  of 
the  T instead  of  off  center,  as  they  are 
usually  constructed.  This  is  easily  accom- 
plished by  cutting  off  one  end  of  the  T. 
With  one  so  constructed,  if  the  outer  an- 
gles of  the  T are  both  coincident  with  the 
arc  of  circle,  the  straight  line  obtained  will 
be  the  same  as  if  drawn  directly  from  the 
vanishing  point. 

Third:  If  preferred,  the  arc  can  be  cut 
out  of  thin  cardboard  or  wood  and  tacked 
to  the  drawing  board  at  the  proper  place, 
and  the  T square  then  used  against  it  as  a 
guide,  in  the  same  way  it  is  used  against 
the  straight  end  of  a drawing  table.  Since 
the  T square  will  move  against  a circle 
instead  of  in  a straight  line,  the  result  will 
be  radii  diverging  from  the  vanishing  point 
instead  of  parallel  lines.  Sets  of  these 
arcs  in  wood  can  be  purchased  from  art 
stores. 

Alex.  Doyle. 

* * * 

MASKING  TRACING  FOR  AIR- 
BRUSH WORK. 

Editor  Asked  and  Answered : In  the  use 
of  the  air  brush  in  masking  granite  de- 
signs, a paper  mask  is  cut  out  to  cover 
background.  How  can  I mask  fine  tracing 
which  must  show  white  on  polished  sur- 
face? The  difficulty  is  that  fine  lines,  one- 
sixteenth  of  an  inch  or  less,  if  cut  in  paper, 
will  not  lie  flat,  but  will  warp  and  get  out 
of  place.  If  you  can  put  the  trade  wise  on 
this  point  you  will  save  a lot  of  profanity. 
— S.  G.  F,  Neb. 

There  are  various  methods  of  covering 
narrow  strips.  In  most  cases  stencil  paper 
is  used.  This  is  a stiff  paper,  almost  as 
heavy  as  cardboard,  and  in  order  to  keep  it 
close  to  the  drawing,  so  that  the  color  will 
not  spread  under  it,  small  pins,  known  as 
stencil  pins,  can  be  used.  These  are  sold 
by  various  dealers  at  15  cents  per  dozen 
and  in  lots  of  four  dozen  for  50  cents. 
Other  operators  use  metal  or  sheet  cellu- 
loid for  the  same  purpose.  The  latter  is 
often  used  when  the  mask  is  wanted  in 
the  form  of  a curve  or  an  angle. 

Thayer  & Chandler. 


MONUMENT  DEALER’S  MANUAL 


53 


In  putting  a very  delicate  paper  mask  on 
the  background,  we  have  found  the  use  of 
common  white  shellac  a satisfactory  ma- 
terial with  which  to  hold  such  a mask  in 
place.  After  completing  the  brush  work, 
the  mask  can  be  lifted  up  and  the  shellac 
crumbles  and  brushes  off  when  dry  with- 
out any  tendency  to  adhere  to  the  paper 
However,  we  note  that  your  subscriber 
mentions  a fine  line  one-sixteenth  of  an 
inch  or  less  to  indicate  a white  traced 
line  on  a dark  polished  surface.  Oneway 
to  accomplish  the  same  result  is  to  make 
a white  ink  line  instead  of  using  any  mask 
at  all.  Another  way,  and  probably  the 
more  common  way,  is  to  use  Ross  scratch- 
board  paper  and  scratch  the  lines  in.  This 
is  only  possible,  of  course,  on  scratch- 
board  paper,  but  this  paper  is  commonly 
used  in  connection  with  work  of  this  char- 
acter. Bliss  Design  Co. 

* * * 

SIMPLE  WORKSHOP  DRAWINGS. 

Many  shop  men  begin  simple  drawings 
with  the  detail  first,  which  is  like  putting 
the  cart  before  the  horse.  These  few  draw- 
ings are  some  that  are  used  quite  often  in 
most  workshops  and  a great  deal  of  time 
is  lost  because  the  draftsman  does  not 
know  the  principles  of  a foundation  of  pre- 
liminary lines. 

* * * 

DRAWING  MASONIC  EMBLEM. 

The  first  is  the  Masonic  emblem.  This 
design  is  drawn  in  many  different  ways, 
good  and  bad.  Here  illustrated  is  a simple, 
practical  system. 

The  height  is  first  determined,  which  is 
3 inches,  the  width  is  3%  inches.  This 
proportion  will  be  suitable  at  all  times. 
Just  as  soon  as  these  measurements  have 
been  determined  center  lines  each  way  are 
drawn.  Next  the  top  circle  is  drawn  and 
from  the  outside  width,  lines  are  drawn  to 
each  of  the  lower  corners,  then  from  the 
inside  of  the  top  circle  two  other  lines  are 
drawn  until  they  connect  at  the  lower  bot- 
tom ones.  Lines  for  square  are  started  at 
the  lower  center  of  the  rectangle  to  a line 
a little  above  the  center  horizontal  line. 
Then  by  measuring  the  width  the  square 
will  be  at  both  ends ; then  draw  the  lines  to 
them  and  the  rough  emblem  is  drafted. 
The  ends  of  the  square  are  sometimes  fin- 
ished at  right  angles  and  in  other  ways 
this  is  drawn  after  the  two  side  lines  have 
been  fixed.  The  small  circle  representing  a 
•screw  is  drawn,  using  a small  compass;  the 
inside  of  the  compass  is  then  drawn  and  the 
letter  G last. 


ODD  FELLOWS’  EMBLEM. 

The  Odd  Fellows’  emblem  is  a very  sim- 
ple drawing  to  execute  if  it  is  started  in 
the  proper  manner.  Many  workmen  have 
a great  deal  of  trouble  because  they  try  to 
make  first  the  lines  that  should  be  drawn 
last.  Fig.  2 shows  just  how  the  prelim- 
inary lines  should  be  drawn.  First  draw 
with  a compass  the  size  curve  desired  and 


the  right  width  of  two  parallel  lines.  Then 
the  first  or  center  ellipse  is  drawn  in  rough 
sketchy  lines,  and  on  each  side  of  the  cen- 
ter the  other  two  are  sketched.  Pre- 
liminary lines  like  these  give  size  and  form. 
Not  until  after  these  sketchy  lines  have 
been  used  does  the  draftsman  begin  to 
draw  with  correct  lines.  To  draw  the  cor- 
rect lines  one  only  has  to  follow  the  out- 
side of  the  preparatory  lines.  The  center 
one  is  drawn  first  an  equal  distance  on  each 
side  of  a center  line.  The  one  on  the  right 
side  is  drawn  next  the  same  width  as  the 
center  one.  The  last  one  at  the  left  is 
drawn,  using  the  same  measurement  and 
lines  as  the  others. 


54 


MONUMENT  DEALER’S  MANUAL 


TO  DRAW  A HEART. 

The  heart  often  used  for  monumental 
purposes  is  drawn  very  mechanically  and 
different  sizes  and  proportions  are  drawn 
on  the  same  system.  First  draw  a rectan- 
gle of  the  proportions  wanted;  find  the  per- 
pendicular center  of  it ; now  find  the  hori- 
zontal center,  next  find  one-half  of  the 
top  half.  Then  find  a line  at  the  center 
which  is  one-eighth  from  the  center ; from 
the  one-eighth  line  draw  the  right  side  to 
the  top  line  where  it  intersects  with  the 
one-fourth  perpendicular  line.  Continue 
to  draw  in  a circle  until  the  line  touches 
the  outside  of  the  triangle  at  the  one-fourth 
horizontal  line,  then  continue  the  line  to 
the  center  at  the  bottom.  When  one  side 
is  finished  draw  on  a piece  of  thin  tracing 
paper  over  this  line  then  transfer  the  line 
to  the  other  side. 

* * * 

THE  CROSS  AND  CROWN. 

The  cross  and  crown  is  a very  hard  sub- 
ject to  draw  unless  one  draws  it  'syste- 
matically. It  can  not  be  drawn  correctly 
any  other  way.  A good  system  is  here 
shown  at  Fig.  4.  Draw  a rectangle  and 
find  the  center  both  ways  and  one-fourth 
of  top  and  bottom  half.  The  top  line  of 
the  crown  on  each  side  is  at  the  outside 
center.  A curve  is  first  drawn  from  these 
points;  that  represents  the  top  of  the 
crown.  The  bottom  line  is  situated  at  the 
bottom  quarter  and  is  drawn  similar  to 
the  top  one.  Next  the  side  lines  are  drawn 
from  the  outside  top  to  the  bottom,  which 
is  at  a distance  of  one-eighth.  This  com- 
pletes the  first  line  of  the  crown.  All  other 
lines  are  then  drawn  to  represent  the  char- 
acter of  the  crown  in  question.  The  cross 
is  drawn  at  different  angles  but  the  angle 
here  represented  seems  to  be  a good  one 
to  use.  You  can  find  this  by  drawing  the 
right  side  long  line  from  top  to  bottom ; 
from  the  top  a little  to  the  left  of  the  right 
top  corner  of  the  triangle  and  extend  it  to 
a little  to  the  left  of  the  bottom  center. 
This  line  being  properly  situated  all  other 
lines  of  the  cross  are  drawn  to  correspond, 
making  a correct  cross. 

s)s 

DIFFERENT  WAYS  OF  SHADING 
LETTERS. 

A letter  may  be  shaded  so  that  it  will 
appear  to  be  seen  from  many  different 
viewpoints.  The  draftsman  needs  to  be 
proficient  in  shading  so  that  the  letters 
will  appear  to  be  viewed  from  the  same 
point  as  the  other  parts  of  the  monument. 
The  A at  No.  1 is  above  the  eye,  also  to  the 


right  of  vision.  When  a letter  is  placed 
in  that  position  the  bottom  and  the  sides 
can  be  seen  as  prominent  as  the  face  of 
them.  The  corner  lines  of  the  shading 
start  downward  to  meet  the  eye  or  to  a 
horizon.  No.  2 shows  just  the  opposite 
point  of  view.  This  letter  is  seen  to  be 
below  the  eye,  also  to  the  left.  The  cor- 
ner lines  of  the  shading  extend  upward 
to  a horizon  and  the  shading  makes  the 
letter  have  the  appearance  of  being  raised 
and  at  some  place  cut  on  the  monument 
low  down,  probably  on  the  lower  part  of 
a die  or  on  the  base,  while  the  letter  at 
No.  1 would  be  at  the  top  of  the  die  above 
one’s  head.  In  No.  3 the  C is  in  the  same 
position  as  No.  1,  only  it  is  a letter  with 
curves  and  much  harder  to  shade  than  one 
of  straight  bars.  The  same  principle  is 
used  to  shade  it,  though  the  corners  do  not 
meet  the  surface  of  the  ends  of  the  bars; 
a straight  line  but  gradually  becoming  nar- 
rower as  the  curve  goes  around  away  from 
the  eye.  No.  4 is  shaded  like  No.  2 and 
curve  lines  are  used  like  No.  3.  A begin- 
ner will  have  trouble  in  commencing  the 
corners  at  the  right  place.  Good  practice 
is  obtained  by  drawing  from  cut  letters  on 
a monument. 

* * * 

DRAWING  ROLLS  IN 
PERSPECTIVE. 

Without  a practical  knowledge  of  per- 
spective the  draftsman  has  trouble  in  draw- 
ing rolls  that  are  viewed  from  the  front 
and  end.  The  drawing  at  Fig.  6 shows  a 
practical  way  to  draw  one  in  three  different 
positions.  In  the  first,  the  point  of  vision 
is  at  the  left  of  the  front,  therefore  one 
sees  the  end  and  the  front  from  one  view- 
point. By  drawing  triangles  like  the  ones 
here  constructed  and  drawing  an  ellipse 
within  them  one  gets  the  proper  curves  for 
the  ends.  No.  2 shows  the  viewpoint  ex- 
actly in  front  and  a little  higher  than  the 
roll.  The  front  or  end  is  drawn  with  a 
compass,  a complete  circle,  the  two  sides 
perspect  narrower  at  the  top  and  a part  of 
a true  circle  is  drawn  to  complete  the  far- 
ther end.  One  can  see  by  drawing  a square 
rectangle  that  the  top  of  it  is  also  the  line 
on  which  the  far  end  of  the  roll  terminates. 
No.  3 is  an  opposite  view  from  No.  1,  ex- 
cept that  one  stands  more  to  the  end  and 
does  not  see  the  length  so  parallel.  The 
end  of  this  drawing  is  not  drawn  with  a 
compass  for  it  ceases  to  be  round  when 
viewed  from  the  side.  It  now  becomes 
elliptical  and  is  drawn  free  hand,  using  a 
rectangle  for  guide  lines.  The  lines  form- 


MONUMENT  DEALER’S  MANUAL 


55 


ing  top  and  bottom  of  the  length  perspect 
very  quickly  and  the  far  end  of  the  roll 
terminates  as  in  drawing  with  the  top  of 
the  rectangle  and  at  a point  just  above  the 
left  side  of  the  ellipse.  When  one  can  suc- 
cessfully draw  and  understand  the  principle 
of  these  views  he  should  be  able  to  draw 
other  positions  correctly. 

sjs  sj5 

THE  IVY  LEAF. 

The  ivy  leaf,  which  probably  is  used 
more  than  any  other  leaf  in  the  monu- 
mental business,  is  often  of  very  bad  form. 


The  first  thing  to  do  is  to  draw  a rectangle, 
then  cut  the  corners  by  lines  which  serve 
for  the  rough  form.  The  curved  lines  are 
drawn  last.  By  using  different  kinds  of 
rectangles  one  can  draw  the  leaf  in  differ- 
ent positions  in  perspective.  By  using  a 
long  rectangle  one  sees  the  length  but  not 
so  square  a view  of  the  front  so  the  draw- 
ing will  show  the  thickness.  There  is  also 
another  view  making  the  leaf  appear  as 
if  lying  down,  using  a different  kind  of  a 
rectangle;  different  appearances  are  made 
by  using  the  rectangle  in  odd  forms. 

J.  W.  Wyckoff. 


ENTASIS  AND  DIMINUTION  OF  CLASSIC  COLUMNS. 


To  the  cultured  eye  many  of  the  columns 
used  from  the  classic  orders  in  modern 
cemetery  memorials  are  unshapely  and  un- 
becoming on  account  of  not  having  a per- 
fect and  gradual  diminution.  Columns 
used  by  the  ancients  in  imitation  of  trees, 


height;  the  lower  part  being  left  perfectly 
cylindrical.  The  former  of  these  methods 
was  most  in  use  among  the  ancients  and 
being  the  most  natural,  seems  to  claim  the 
preference,  though  the  latter  has  been  al- 
most universally  practiced  by  modern  ar- 


FIG.  I.  FIG.  2. 


from  which  they  derive  their  origin,  were 
tapered  in  straight  lines,  so  that  the  shaft 
was  the  frustum  of  a cone,  but,  finding 
this  form  abrupt  and  disagreeable,  they 
made  use  of  some  curve,  which  springing 
from  the  extremities  of  the  superior  and 
inferior  diameters  of  the  column  swelled 
beyond  the  sides  of  the  cone,  and  this  gave 
the  most  pleasing  figure  to  the  outline.  In 
the  specimens  of  antiquity  the  diminution 
is  variously  performed;  sometimes  begin- 
ning from  the  foot  of  the  shaft,  at  others 
from  one-quarter,  or  one-third,  of  its 


chitecture,  from  a supposition,  perhaps,  of 
its  being  more  graceful,  as  it  is  more 
marked  and  strikingly  perceptible.  Vitru- 
vius in  the  second  chapter  of  his  third  book 
mentions  this  practice;  but  in  so  obscure 
and  cursory  a manner,  that  his  meaning 
has  not  been  clearly  understood ; and  sev- 
eral of  the  modern  architects  intending 
to  conform  themselves  to  his  doctrine, 
have  made  the  diameters  of  their  columns 
greater  in  the  middle  than  at  the  foot  of 
the  shaft,  as  shown  in  Fig.  1. 

I.eoni  Baptista  Alberti  with  several  of 


56 


MONUMENT  DEALER’S  MANUAL 


the  Florentine  and  Roman  architects, 
carried  this  practice  to  a very  absurd  excess 
for  which  they  have  been  justly  blamed,  it 
being  neither  natural,  reasonable,  nor 
beautiful.  Alberti  divides  the  height  of  the 
column  into  seven  parts,  and  places  the 
greatest  swelling  at  the  height  of  the  third 
division  of  these  parts  from  the  base;  so 
that  he  assumes  the  doctrine  of  Vitruvius 
by  the  strict  letter,  conceiving  his  mean- 
ing to  be  that  the  swelling  is  very  near  the 
middle  of  the  height  of  the  column. 

Sir  Henry  Wotten,  in  his  Elements  of 
Architecture,  says,  in  his  usual  quaint 
style,  “And  here  I must  take  leave  to 
blame  a practice  grown  (I  know  not 
how)  in  certain  places  too  familiar  of  mak- 
ing pillars  swell  in  the  middle,  as  if  they 
were  sicke  of  some  tympany  or  dropsie, 
without  any  authentique  pattern  or  rule  to 
my  knowledge,  and  unseemingly 
to  the  very  judgment,  and  sight,” 
and  indeed  his  saying  is  extremely  just 
and  founded  on  what  is  observable  in  the 
works  of  antiquity,  where  there  is  not  a 
single  instance  of  a column  thicker  in 
the  middle  than  at  the  bottom,  though  all, 
or  most  of  them  have  the  swelling  hinted 
at  by  Vitruvius,  all  of  them  being  term- 
inated by  curves. 

The  following  method  of  obtaining  the 
true  entasis  of  a column  is  a discovery  of 
Vignola  and,  although  it  is  less  known 
than  any  other  it  will  be  easily  compre- 
hended by  the  illustration  herein.  Having 


therefore  determined  the  dimensions  of 
your  column,  Fig.  2 (that  is  to  say  the 
height  of  the  shaft,  and  its  inferior  and  su- 
perior diameters),  C and  A,  draw  a line, 
indefinitely  from  C through  D,  at  right 
angles  to  the  axis  of  the  column;  this  done, 
set  off  the  distance  C D,  which  is  the  in- 
ferior semi-diameter  and  from  A the  ex- 
treme point  of  the  superior  semi-diameter 
to  B,  a point  in  the  axis,  the  interval  C D. 
Then  from  A,  through  B,  draw  the  line 
ABE  which  will  cut  the  indefinite  line 
C D at  E;  and  from  this  point  of  inter- 
section E,  draw  through  the  axis  of  the 
column  any  number  of  rays  as  E ba,  on 
each  of  which,  from  the  axis  towards  the 
circumference,  setting  off  the  interval  C 
D,  you  may  make  any  number  of  points  a, 
a,  a,  through  which,  if  a curve  be  drawn, 
it  will  describe  the  swelling  and  diminu- 
tion of  the  column,  and  produce  a most 
graceful  contour. 

The  columns  in  the  Pantheon,  at  Rome, 
accounted  the  most  beautiful  among  the 
antiques,  are  traced  in  this  manner,  as  ap- 
pears by  the  exact  measures  of  one  of 
them  to  be  found  in  Desgotez’s  Antiquities 
of  Rome. 

In  the  remains  of  antiquity  the  quantity 
of  diminutions  at  the  upper  diameter  of 
columns  is  various ; but  seldom  less  than 
one-eighth  of  the  inferior  diameter  of  the 
column,  nor  more  than  one-sixth  of  it. 

The  last  of  these  columns  is  by  Virtru- 
vius,  esteemed  the  most  perfect,  and  Vig- 


MONUMENT  DEALER’S  MANUAL 


57 


nola  has  employed  it  in  four  of  his  orders, 
as  we  have  in  all  of  them,  there  being  no 
reason  for  diminishing  the  Tuscan  column 
more  in  proportion  to  its  diameter,  than 
any  of  the  rest;  though  it  is  the  doctrine 
of  Vitruvius  and  the  practice  of  Palladio, 
Vignola,  Scamozzi  and  almost  all  the  mod- 
ern architects.  On  the  contrary,  as  Mon- 
sieur Perrault  justly  observes,  its  diminu- 
tion ought  to  be  rather  less  than  more,  as 
it  actually  is  in  the  Trajan  column,  at 
Rome,  being  there  only  one-ninth  of  the 
diameter.  For,  even  where  the  same  pro- 
portion is  observed  through  all  the  orders, 
the  absolute  quantity  of  the  diminution 
in  the  Tuscan  order,  supposing  the  columns 
of  the  same  height  exceed  that  in  the 
Corinthian  is  the  ratio  of  ten  to  seven; 
and  if,  according  to  the  common  practice, 
the  Tuscan  column  be  less  by  one-quarter 
at  the  top  than  at  its  foot,  the  difference 
between  the  diminution  in  the  Tuscan  and 
in  the  Corinthian  columns  will  be  as  fif- 
teen to  seven;  and  in  the  Tuscan  and  Doric 
nearly  as  fifteen  to  nine;  so  that  not  with- 
standing there  is  a considerable  difference 
between  the  lower  diameters  of  a Tuscan 
and  of  a Doric  column,  both  being  of 
the  same  height,  yet  their  diameters  at 
the  top  will  be  nearly  equal,  and,  conse- 
quently the  Tuscan  will  not,  in  reality  be 
any  stronger  than  the  Doric  one ; which  is 
contrary  to  the  character  of  the  order. 

Vitruvius  allots  different  degrees  of  di- 
minution to  columns  of  various  heights, 
giving  to  those  of  fifteen  feet  one-sixth  of 
their  diameter,  to  such  as  are  from  twenty 
to  thirty  feet,  one-seventh,  and  when  they 
are  from  forty  to  fifty  feet  high,  one-eighth 
only;  observing  that,  as  the  eye  is  easily 
deceived  in  viewing  distant  objects,  which 
always  appear  less  than  they  really  are,  it 
is  necessary  to  remedy  the  deception  by 
an  increase  of  the  dimensions;  otherwise 
the  work  will  appear  ill-constructed  and 
disagreeable  to  the  eye.  Most  of  the 
modern  architects  have  taught  this  same 
doctrine,  but  Perrault  proves  the  absurdity 
of  this  theory  which  will  be  herein  ex- 
plained and  illustrated.  For,  if  the  validity 
of  Perrault’s  arguments  be  not  assented  to 
and  it  is  required  to  judge  according  to 
the  rigor  of  optical  laws,  it  must  be  re- 
membered, that  the  proper  point  of  view 
for  a column  of  fifty  feet  high,  is  not  the 
same  as  for  one  of  fifteen;  but,  on  the 
contrary,  more  distant,  in  the  same  pro- 
portion as  the  column  is  higher;  and  that, 
consequently,  the  apparent  relation  be- 


tween the  lower  and  upper  diameters  of  the 
column  will  be  the  same  whatever  its  size. 

For  if  we  suppose  in  Fig.  3,  A to  be  a 
point  of  view,  whose  respective  distance 
from  each  of  the  columns  f g,  F G is 
equal  to  the  respective  heights  of  each,  the 
triangles  f A g,  F A G will  be  similar; 
and  A f,  or  A h,  which  is  the  same,  will 
be  to  A g,  as  A F or  its  equal  A H,  is  to 
A G : therefore  if  d e,  be  in  reality  to  b 
c,  as  D E is  to  B C,  it  will  likewise  be 
apparently  so ; for  the  angle  d A e will 
then  be  to  the  angle  b A c as  the  angle  D 
A E is  to  the  angle  B A C and  if  the  real 
relations  differ,  the  apparent  ones  will  also 
differ. 

The  eye  of  the  spectator  is  supposed  to 
be  in  a line  perpendicular  to  the  foot  of 
the  shaft;  but  if  the  columns  be  propor- 
tionately raised  to  any  height  above  the 
eye  the  argument  will  remain  in  force,  as 
the  point  in  view  must  of  course  be  pro- 
portionately more  distant ; and  even  when 
columns  are  placed  immediately  on  the 
ground  which  seldom  or  ever  is  the  case, 
the  alteration  occasioned  by  that  situa- 
tion is  too  trifling  to  deserve  notice. 

Scamozzi  who  esteems  it  an  essential 
property  of  the  delicate  order  to  exceed 
the  massy  ones  in  height,  has  applied  the 
above  cited  precept  of  Vitruvius  to  the 
different  orders ; having  diminished  the 
Tuscan  column  one-quarter  of  its  diameter, 
the  Doric  one-fifth ; the  Ionic  one-sixth ; 
the  Roman  or  Composite  one-seventh ; 
and  the  Corinthian  one-eighth. 

In  the  preceding  part  of  these  definitions 
upon  the  subject,  the  fallacy  of  Vitruvius’ 
ideas  has  been  shown  upon  principles  which 
cannot  be  set  aside,  that  is,  with  respect 
to  the  heights  of  his  orders,  and  where  the 
error  of  reducing  the  Tuscan  column  more 
than  any  of  the  others  has  been  proved, 
which  diminution  is  explained  by  the  fore- 
going arguments. 

However,  it  must  not  be  imagined  that 
the  same  general  proportions  of  the  es- 
teemed works  of  the  Romans  and  Gre~ 
cians,  who,  in  the  opinions  of  the  most 
eminent  writers,  carried  architecture  to 
the  highest  degree  of  perfection,  will  on 
all  occasions  succeed  because  considera- 
tion should  always  be  given  to  the  po- 
sition of  the  columns  or  monument,  and 
to  the  several  altitudes  or  depressions  from 
which  it  will  be  seen  where  majesty  and 
grandeur  of  manner  should  be  extended  to 
their  utmost  limits. 

Franklin  L.  Naylor. 


THE  COMPOSITION  AND  STRUCTURE  OF  GRANITE. 


Not  alone  for  its  strength  and  durabil- 
ity, does  granite  occupy  the  leading  posi- 
tion as  a structural  stone;  its  variety  of 
tone  and  texture,  and  its  susceptibility  of 
high  polish  also  give  it  a wide  range  of 
usefulness,  while  its  geological  formation 
and  intricate  association  of  the  various  ma- 
terials in  the  composition  of  its  mass,- 


which  are  named  or  classified  according 
to  the  predominating  accessory  mineral.  In 
the  U.  S.  the  biotite,  or  mica  granites  are 
the  most  abundant. 

Solid  a material  as  granite  appears  to  be, 
it  is  astonishing  what  an  amount  of  water 
it  naturally  holds.  According  to  one  emi- 
nent authority,  granite  ordinarily  contains 


Table  of  the  principal  constituents  of  the  granites  of  a number  of  the  granite  producing  states;  compres- 
sion and  shearing  strains.  Based  on  averages: 


STATE 


California  ....... 

Connecticut  

Delaware  

Georgia  

Idaho  

Indian  Territory 

Maine  — 

Maryland"  

Massachusetts  . 

Missouri  • 

Nevada  

New  Hampshire 

New  York 

Oregon  — 

Pennsylvania  ... 
South  Carolina  . 

Vermont  

Virginia  

Washington  

Wisconsin  


Principal  Constituents 

Com- 

Shearing 
lbs.  per 
sq. in. 

Silica 

percent 

Oxide  of 
Iron 
per  cent 

A lumina 
per  cent 

Lime 
per  cent 

Magne- 

sia 

percent 

Soda 
per  cent 

Potash 
per  cent 

Ipression 
lbs.  per 
sq. in. 

75.35 

3.94 

13.69 

2.97 

.06 

1.14 

2.L8 

21.104 

2,419 

68.11 

2.63 

14.28 

1.86 

.80 

6.57 

5.46 

27,218 

67.98 

4.39 

16.14 

5.89 

.53 

4.32 

.45 

24,913 

69.92 

1.31 

16.80 

1.93 

.44 

4.78 

5.30 

27,018 

61.47 

4.46 

23.03 

5.59 

4.09 

1.22 

65.30 

2.60 

19.94 

4.50 

L00 

2t37 

2.00 

73.17 

1.87 

15.15 

.80 

.11 

2.63 

5.17 

23,748 

2,820 

73.69 

3.60 

12.89- 

3.73 

.49 

2.81 

1.48 

76.49 

2.03 

13.18 

Jl 

4.61 

5.03 

23,189 

2,4S9 

69.94 

2.48 

15.19 

1?15 

’.’92 

3.95 

4.29 

20,176 

58.67 

7.56 

14.89 

5.68 

1.79 

7.69 

2.69 

70.85 

2.91 

15.76 

1.38 

.65 

.5.40 

2.78 

20,477 

63.19 

12.46 

10.50,' 

6.12 

1.44 

1.91 

4.01 

23,200 

68.60 

3.25 

17.02 

4.00 

1.58 

. 3.55 

2.10 

74.84 

3.69 

18.90 

1.64 

'92 

21,684 

71.40 

2.78 

15.38 

1.45 

.24 

2.75 

5.52 

73.54 

1.74 

16.08 

*2.16 

.20 

3.29 

2.47 

18,744 

64.12 

2.96 

20.91 

1.98 

.66 

4.57 

4.82 

26,415 

69  08 

4.27 

14.56 

3.66 

1.70 

14,670 

72.12 

3.08 

15.01 

1.62 

.51 

2.97 

3.90 

25,000 

makes  it  of  more  than  ordinary  interest. 

The  table  above  has  been  compiled 
from  information  given  in  the  last  U.  S. 
Geological  report,  and  from  which  many 
deductions  and  comparisons  may  be  made 
and  which  may  be  referred  to  as  a basis 
for  deeper  investigation.  It  is  not  by  any 
means  complete  for  reasons  suggested 
above,  and  it  is  to  be  hoped  that  future  U. 
S.  Geological  reports  will  contain  more  in- 
formation regarding  the  properties  of  such 
of  the  stone  products  of  the  several  states 
as  are  put  upon  the  market  for  structural 
or  other  purposes. 

The  essential  minerals  entering  into  the 
composition  and  structure  of  granite  are 
quartz  and  the  feldspar  group,  while  the 
accessory  minerals  which  give  character  to 
the  stone,  are  the  mica  group,  hornblende, 
and  several  others  in  far  less  proportion. 
Many  more  minerals,  however,  are  mingled 
with  these  essential  and  accessory  com- 
ponents, but  they  are  usually  only  discover- 
able by  the  microscope.  The  large  list  of 
minerals  found  in  granite  explains  its 
great  variety,  both  of  color,  texture  and 
quality. 

While  ordinarily  speaking,  the  average 
man  recognizes  granite  only  as  granite, 
the  enquiring  mind  will  soon  learn  that 
there  are  a number  of  varieties  of  granite 


about  0.8  per  cent  of  water,  and  that  in  ad- 
dition it  will  absorb  about  0.2  per  cent  more, 
giving  a total  of  3.5  gallons  of  water  to 
the  cubic  yard.  Texture  and  composition 
have  therefore  a most  important  bearing 
on  the  quality  of  granite  for  many  pur- 
poses. A close  or  fine  grained  stone  is 
usually  considered  to  be  more  impervious 
to  moisture  than  one  of  coarser  structure. 
This  is  not,  however,  in  all  cases  a correct 
assumption,  because  in  structure  the  uni- 
formity and  packing  of  the  grains  in  the 
finer  material  may  cause  more  pore  space 
than  in  the  coarser  stone,  wherein  the 
grains  are  structurally  better  packed,  as 
it  were,  and  of  a more  impervious  charac- 
ter. A study  of  the  mineralogical  and 
physical  nature  of  granite  for  particular 
purposes  is  therefore  certainly  suggested  by 
the  variety  of  characteristics  pertaining 
to  it. 

The  color  of  granite  is  governed  princi- 
pally by  the  proportions  and  kinds  of  ac- 
cessory minerals  present,  and  also  to  a 
considerable  extent  by  the  feldspars.  Where 
muscovite,  colorless  mica,  characterizes  the 
stone,  light  gray  will  prevail ; while  the 
deep  color  is  imparted  by  the  abundance 
of  black  mica.  Gradations  are  caused  by 
the  presence  of  the  ferro-magnesian  min- 
erals, the  tints  of  the  feldspar,  and  oc- 
casionally by  the  quartz.  The  feldspars 


MONUMENT  DEALER’S  MANUAL 


59 


have  much  to  do  also  with  the  shades  of 
red,  pink,  and  green. 

The  variations  in  the  compression  column 
of  the  table  here  given  must  not  be  adopted 
as  the  criterion  of  the  value  of  a particular 

GEOLOGY  AND  CHEMISTRY 

Please  advise  me  where  I can  get  geo- 
logical information  and  analyses  of  the 
different  granites. — B.  C.  C.,  111. 

Will  you  please  give  chemical  analyses 
of  various  granites  used  for  monumental 
purposes? Gt.  Co. 

Will  you  please  let  me  know  the  testing 
strength  of  a cubic  inch  for  the  following 
granites;  Quincy;  Barre ; Salisbury;  Mon- 
tello,  Wis. ; Waushara  Red,  Wis. ; Wausau 
Red,  Wis. ; Pike  River,  Wis.,  and  St.  Cloud, 
Minn.?  If  you  have  not  the  testing  strength 
of  all  of  these  granites,  please  send  me 
what  you  have. — H.  H.,  Wis. 

Most  of  the  information  asked  for  in 
the  above  inquiries  has  previously  been 
published  in  Monumental  News,  but  in 
order  to  have  it  all  readily  available  in  one 
place,  we  have  gathered  the  rest  of  the 
data  required  and  are  printing  it  here  in 
full. 

The  most  practical  and  understandable 
geological  facts  about  monumental  granites 
are  found  in  general  in  a number  of  bulle- 
tine  that  have  been  prepared  by  the  United 
States  Geological  Survey.  The  most  help- 
ful of  these  are  listed  below. 

As  near  as  we  can  learn  from  various 
reports  of  the  United  States  Geological 
Survey  and  from  a number  of  state  geolog- 
ical surveys,  the  following  are  the  approxi- 
mate crushing  strengths  of  some  of  the 
leading  monumental  granites : 

Pounds  per 
square  inch 


Balfour  Pink,  Salisbury,  N.  C 51,990 

Montello,  Wis 43,973 

Berlin  Rhyolite,  Berlin,  Wis 47,674 

Waushara  Red,  Waushara  Co.,  Wis.  38,063 

Pike  River  Gray,  Amberg,  Wis 27,887 

Wausau,  Granite  Heights,  Wis 27,200 

St.  Cloud,  Gray  or  Red 28,000 

Barre,  Vt 19,957 

White  Westerly  Statuary 39,750 

Blue  Westerly  31,970 

Woodbury  22,460 

Neroblu  (Formerly  Pleasant  River)  22,410 

Bethel  White  34,350 

Swenson  Gray  30,830 

Oglesby,  Ga 31,400 

Quincy,  Mass 17,500 


kind  of  granite  for  certain  purposes,  for  the 
reason  that  the  greatest  compressive  strain 
yet  exerted  in  any  of  our  known  examples 
does  not  approach  the  safety  line  possible 
in  the  figures  given. 

OF  MONUMENTAL  GRANITES. 


Mt.  Airy,  N.  C 24,469 

Adirondack  Green  14,734 

Winnsboro  Blue  26,080 


You  must  understand  that  these  figures 
are  not  absolutely  reliable,  as  such  tests 
will  vary  with  the  kind  of  stock  used  and 
the  conditions  under  which  the  tests  are 
made.  They  are,  however,  the  only  figures 
obtainable  on  this  subject,  and  you  can  use 
them  for  what  they  are  worth.  The  figures 
on  the  Wisconsin  granites  were  obtained 
from  “Building  and  Ornamental  Stone, 
Bulletin  of  the  Wisconsin  Geological  and 
Natural  History  Survey,  No.  4.” 

The  figures  on  the  St.  Cloud  granites 
were  obtained  from  a report  on  the  “Stone 
Industry  for  1912,”  issued  by  the  United 
States  Geological  Survey. 

The  figures  on  the  Barre  granite  are  from 
a report  on  “The  Granites  of  Vermont,” 
issued  as  “Bulletin  404”  of  the  United 
States  Geological  Survey,  and  other  inter- 
esting facts  and  figures  are  to  be  found  in 
the  reports  of  George  H.  Perkins,  Ver- 
mont State  Geologist,  1913  and  1915. 

The  figures  on  the  Westerly  and  the 
Concord  granites  are  from  Bulletin  354  of 
the  United  States  Geological  Survey,  en- 
titled “The  Chief  Commercial  Granites  of 
Massachusetts,  New  Hampshire  and  Rhode 
Island.” 

Information  about  Mt.  Airy,  Balfour 
Pink  and  other  North  Carolina  granites 
are  found  in  “The  Building  and  Orna- 
mental Stones  of  North  Carolina,”  pub- 
lished as  Bulletin  No.  2 of  the  North  Caro- 
lina Geological  Survey. 

The  figures  for  the  Quincy  granite  were 
obtained  from  Merrill’s  “Stones  for  Build- 
ing and  Decoration,”  published  by  John 
Wiley  & Sons,  New  York  City. 

The  Balfour  Pink  crushing  strength  fig- 
ures are  from  the  records  of  tests  made  at 
the  United  States  Arsenal  at  Watertown, 
Mass. 

Following  are  the  chemical  analyses  of 
various  monumental  granites  gleaned  from 
the  above-mentioned  geological  reports: 

DARK  BARRE. 

Per  cent 


Silica  (Si  OQ 69.89 

Alumina  (Ah  Os) 15.08 


60 


MONUMENT  DEALER’S  MANUAL 


Iron  sesquioxide  (Fe2  03) 1.04 

Iron  oxide  (FE  O) 1.46 

Magnesia  (Mg  O) 0.66 

Lime  (Ca  O) 2.07 

Soda  (Na2  O) 4.73 

Potash  (K3  O) 4.29 


Phosphorus  pentoxide  (P2  Os) Trace 

Water  uncombined  (H2  O at  110°)..  0.31 

Water  combined  (H2  O ignition)....  0.23 


99.76 


WESTERLY. 

Per  cent 
Gray  Red 

Silica  (Si  02) 71.64  73.05 

Alumina  (Ala  Oa) 15.66  14.53 

Iron  sesquioxide  (Fee  03)  . | 9 ^ 296 

Iron  oxide  (Fe  O) J 

Manganese  oxide  (Mn  O)... Trace  Trace 

Lime  (Ca  O) 2.70  2.06 

Soda  (Na2  O) 1.578  1.72 

Potash  (Ka  O) 5.60  5.39 

Water  (Ha  O) 0.482  0.29 


100.00  100.00 

QUINCY. 

Per  cent 

Silica  (Si  Oa) 73.93 

Titanium  dioxide  (Ti  02) 0.18 

Alumina  (Al2  03) 12.29 

Iron  sesquioxide  (Fea  Os) 2.91 

Iron  oxide  (Fe  O) 1.55 

Manganese  oxide  (Mn  O) Trace 

Magnesia  (Mg  O) 0.04 

Lime  (Ca  O) 0.31 

Soda  (Na2  O) 4.66 

Potash  (Ka  O) 4.63 

Water  above  110°  (Ha  O)  0.41 


100.91 

MT.  AIRY. 

Per  cent 

Silica  (Si  Oa) 70.70 

Alumina  (Ala  03) 16.50 

Iron  sesquioxide  (Fe2  03) 2.34 

Magnesia  (Mg  O) 0.29 

Lime  (Ca  O) 2.96 

Soda  (Na2  O) 4.56 

Potash  (K2  O) 2.45 

Iron  sulphide  (FeS2) 0.09 


99.89 

SWENSON  GRAY. 

Per  cent 

Silica  (Si  02) 74.47 

Alumina  (Al2  03) 14.15 

Iron  sesquioxide  (Fe2  03) 1.16 

Iron  oxide  (Fe  O) 1.21 

Magnesia  (Mg  O) 0 63 

Lime  (Ca  O) 1.70 


Soda  (Na2  O) 1.97 

Potash  (Ka  O)  . . . ' 4.14 

Sulphur  (S)  0.27 

Carbonic  dioxide  (COa) 0.25 

Water,  not  combined  (Ha  O) 0.06 

Water,  combined  (H2  O) 0.20 


100.21 

BALFOUR  PINK. 

Per  cent 

Silica  (Si  02) 76.06 

Titanium  oxide  (Ti  02) 0.12 

Alumina  (Ala  Os) 14.10 

Iron  sesquioxide  (Fe2  03) 1.20 

Manganese  oxide  (Mn  O) 0.20 

Lime  (Ca  O) 0.36 

Magnesia  (Mg  O) None 

Soda  (Na2  O) 2.01 

Potash  (K2  O) 6.00 

Phosphoric  anhydride  (Pe  05) 08 

Sulphuric  anhydride  (S  03) 18 

Loss  on  ignition 12 


100.43 


MONTELLO. 

Per  cent 

Silica  (Si  02) 75.40 

Alumina  (Ah  03) 11.34 

Iron  sesquioxide  (Fe2  03) 4.16 

Lime  (Ca  O) 90 

Potash  (K2  O) 6.44 

Soda  (Na2  O) 1.76 


100.00 

BERLIN,  WISV  RHYOLITE. 

Per  cent 

Silica  (Si  Oa) 73.65 

Alumina  (Ala  03)  , 11.19 

Iron  sesquioxide  (Fe2  Os) 1.31 

Iron  oxide  (Fe  O) 3.25 

Lime  (Ca  O) 2.78 

Magnesia  (Mg  O) 51 

Potash  (Ka  O) 1.86 

Soda  (Na2  O) 3.74 

Water  (Ha  O) 44 


100.00 

WAUSHARA  RED  (WIS.) 

Per  cent 

Silica  (Si  Oa) 74.62 

Alumina  (Ala  03) 10.01 

Iron  sesquioxide  (Fe2  03) 3.85 

Iron  oxide  (Fe  O) 1.72 

Lime  (Ca  O) • • 2.43 

Magnesia  (Mg  O) 0.33 

Potash  (Ka  O) 3,38 

Soda  (Na.  O) 3.33 

Water  (Ha  O) 0.24 


99.71 


MONUMENT  DEALER’S  MANUAL 


61 


WAUSAU  (WIS.) 

Per  cent 


Silica  (Si  00 76.54 

Alumina  (Al2  03) 13.82 

Iron  sesquioxide  (Fe2  03) 1.62 

Lime  (Ca  O) 0.85 

Magnesia  (Mg  O) 0.01 

Potash  (K3  O) 2.31 

Soda  ( Na2  O') 4.32 

Water  (H2  O) 0.20 


99.67 

BETHEL  WHITE. 

Per  cent 

Silica  (Si  02) 77.52 

Alumina  (Al2  03) 16.78 

Iron  oxide  (Fe  O) 0.84 

Magnesia  (Mg  O) 32 

Lime  (Ca  O) 2.56 

Soda  (Na2  O) 1.21 

Potash  (K*  O) 0.62 

Loss  on  ignition 0.33 


ADIRONDACK  GREEN. 

Silica  (Si02) 

Oxides  of  iron  ^ peQ  ^ 

Alumina  (A1203)  

Lime  (CaO)  

Magnesia  (MgO)  

Soda  (Na2  O) 

Potash  (K2  O) 

Loss  at  red  heat  (H2  O) 


100.18 
Per  cent 

. 70.75 
. 2.70 

. 15.80 
. 2.03 
. 1.35 

. 3.88 
. 3.46 
. .35 


100.32 

WINNSBORO  BLUE. 


Iron  sesquioxide  (Fe2Os) 1.80 

Alumina  (A1203)  15.80 

Potash  (K20)  5.64 

Soda  (NaaO)  4.61 

Lime  (CaO)  1.84 

Magnesia  (MgO)  Trace 

Manganese  oxide  (MnO) Trace 

Titanium  Trace 

Phosphoric  acid  Trace 


99.06 

ST.  CLOUD  RED. 

Per  cent. 


Silica  (Si02)  71.17 

Alumina  (A1203)  13.30 

Iron  sesquioxide.  ( Fe^Os  | 

Iron  oxide { FeO  \ 

Magnesia  (MgO)  30 

Lime  (CaO)  1.56 

Soda  (Na20)  3.85 

Potash  (K20)  4.35 

Water  (H20)  64 

Carbon  dioxide  (C02) 21 

Titanium  dioxide  (Ti02) 23 

Phosphorus  pentoxide  (Pe05) 23 


99.34 


OGLESBY,  GA. 

Per  cent. 


Silica  (Si02)  70.38 

Alumina  (A1203)  16.47 

Iron  sesquioxide  (Fe203) 1.17 

Lime  (CaO)  1.72 

Magnesia  (MgO)  0.31 

Soda  (Na20)  4.98 

Potash  (K20)  5.62 

Ignition  0.31 


Silica  (Si02) 


Per  cent 

. . 69.37 


100.96 


LETTERS  AND  LETTERING 


CEMETERY  LETTERING  WITH  CARBONIC  GAS  TANK. 


Inquiry  is  often  made  as  too  how  deal- 
ers use  air  drums  in  cemetery  to  run 
pneumatic  tools,  such  drums  as  are  used  in 
saloons  to  force  beer?  We  were  told  that 
sbme  dealers  use  them  for  lettering  in 
cemetery.  Kindly  inform  us  how  it  is  done. 
— J.  S.,  Wis. 

Richard  A.  Swanson  of  Denver  has  used 
the  carbonic  acid  gas  tanks  very  success- 
fully for  small  jobs  of  cemetery  lettering, 
and  we  show  here  a picture  of  his  outfit  in 
operation. 

Mr.  Swanson  gives  us  a very  interesting- 
description  of  the  tank  and  its  operation, 
which  we  quote  in  full,  as  follows : 

“I  herewith  enclose  a photo  of  the  tank 
containing  ‘pickled  power/  showing  it  in 
the  act  of  ‘windjamming.’ 

“These  tanks  are  the  same  as  used  to 
charge  soda  water  or  force  beer.  They  are 
charged  with  1,500  pounds  pressure  when 
full  and  can  be  secured  in  20-pound  or  50- 
pound  size,  viz. : the  contents,  liquid  car- 
bonic acid  gas,  weighs  that  much.  They 
can  be  secured  from  any  company  manu- 
facturing carbonic  acid  gas.  Information 
as  to  the  nearest  supply  house  can  be  had 
from  druggists  running  soda  fountains. 

“A  pressure  regulator  is  necessary  and  is 
attached  next  to  the  tank,  as  shown.  The 
hose  is  attached  to  the  lower  end  of  this. 
Loosen  the  valve  of  the  regulator  as  far 
as  possible,  then  close  the  valve  leading  to 
the  hose.  Turn  on  gas  at  top  of  tank  with 
key  which  accompanies  the  tank,  opening 
it  as  far  as  key  can  be  turned,  then  tighten 
regulator  by  turning  the  key  to  the  right 
until  the  gauge  shows  the  amount  of  pres- 
sure desired,  usually  about  60  pounds,  al- 
though this  can  be  regulated  as  required. 
Attach  pneumatic  tools,  turn  on  gas  by 
valve  at  bottom  of  regulator,  and  you  find 
‘something  doing.’ 

“These  tanks  are  convenient  for  cemetery 
jobs,  trimming  and  lettering,  and  cap  be 


LETTERING  IN  THE  CEMETERY  WITH 
CARBONIC  GAS  TANK. 

taken  in  an  auto  or  buggy  and  handled  by 
one  man.  They  would  be  too  expensive 
in  a shop  for  continuous  use.  The  tank 
should  be  in  moderate  temperature,  but 
never  left  in  the  heat  of  the  sun. 

“By  continuous  use  they  will  show  frost 
and  even  freeze,  but  a few  minutes’  ‘let-up’ 
will  thaw  them  for  a continuance. 

“Drums  vary  in  price  in  different  locali- 
ties ; 20  pounds  usually  cost  about  $2.50  to 
$2.60.  Drums  are  returned  to  manufac- 


MONUMENT  DEALER’S  MANUAL 


63 


turers  when  empty;  20  pounds  usually  last 
from  3 to  6 hours. 

“As  stated  before,  they  are  economical  on 
small  jobs  only,  owing  to  the  convenience 
in  transporting  them  and  being  handled  by 
one  man,  besides  avoiding  fuel  expense.” 

* * * 

DIAMOND  PENCIL  FOR  LET- 
TERING. 

Arthur  Berliner,  Forest  Park,  111.,  gives 
the  following  information  about  the  use  of 
the  diamond  pencil : “You  can  use  a dia- 

mond pencil  five  or  six  years  if  you  use  it 
like  a pencil  and  not  like  a chisel. 

“They  not  only  save  a great  deal  of  time, 
but  what  is  just  as  important,  they  make  it 
possible  to  cut  letters  sharper  and  cleaner 
than  can  be  done  otherwise.  I have  been 
using  the  diamond  pencils  for  more  than 
35  years,  and  have  lettered  thousands  of  in- 
scriptions with  them.  Apply  the  whitening 
and  lay  out  the  inscription  in  the  usual 
manner ; then  place  the  straight  edge  across 
the  top  of  the  letters  and  lay  weights  on  it 
to  hold  the  straight  edge  in  place.  Then 
proceed  with  the  diamond  pencil  to  scratch 
in  the  vertical  and  horizontal  lines,  using 
the  square  to  insure  getting  all  the  lines 
straight.  Hold  the  pencil  with  the  gold 
wire  side  up.  The  curves  in  the  letters 
can  be  cut  in  with  the  chisel.  Rub  off 
the  whitening  and  the'  lines  of  the  letters 
and  tracing  will  be  found  distinctly  cut  in 
the  polished  face  of  the  stone  ready  for 
finishing.” 

* 

CUTTING  A DRAFT  WITH  A 
PNEUMATIC  TOOL. 

The  fault  of  many  workmen  when  cut- 
ting a draft  is  the  lack  of  preliminary  work 
before  the  actual  cutting,  and  the  holding 


RIGHT  AND  WRONG  WAY  TO  HOLD  A 
CHISEL  WHEN  CUTTING  A DRAFT. 


of  the  chisel  in  the  wrong  position.  Gran- 
ite, which  is  very  brittle,  must  first  be 
chipped  very  evenly  and  sharply.  This  is 
accomplished  by  one  man  holding  a straight 
edge  against  the  granite,  with  the  top  edge 
at  the  proper  place.  Another  man  with 


hand  hammer  and  sharp  chisel  chips  along 
the  straight  edge.  The  first  time  over  one 
does  not  have  to  be  so  careful  and  the 
chips  not  so  sharp,  but  a sharp,  thin  chisel 
is  required  to  chip  the  line  close  and  even. 
When  the  line  is  chipped,  do  not  hold  your 
chisel  against  the  granite  and  cut  as  illus- 
trated in  No.  1,  because  the  edge  of  the 
chisel  will  at  once  make  the  granite  cut 
and  break  off  the  wrong  way  and  the  edge 
will  become  rough  and  with  chips  out  at 
different  places.  The  safe  way  is  shown 
in  No.  2.  Hold  the  chisel  so  it  will  cut  in 
at  all  times.  This  causes  the  granite  to 
break  ahead  of  the  tool  inward  and  a 
smooth  edge  will  be  the  result. 

Foreman. 

* * * 

DRILLS  FOR  CARVING. 

Some  granite  and  marble  carvers  utilize 
much  more  time  than  is  necessary  when 
carving  because  they  do  not  use  the  proper 
tools.  The  right  kind  of  tools  help  to 
carve  properly  as  well  as  rapidly.  After 
the  rough  has  been  taken  away  and  the 


MarUe  WAV 

I'.n.Vn  '-'.LiU  w 

Gramme  WAV 

■ 1 w.! ' ; : -y ■'  '!  ■ ;.H,  *■.'  nun  >_  - iV  . 

form  of  the  decoration  is  being  worked 
out,  one  must  change  his  chisels  from  wide 
blunt  ones  to  narrow  sharp  ones,  also  in- 
troducing different  sizes  of  drills.  Drilling 
out  the  waste  between  the  forms  is  the 
safest  and  fastest  process.  There  is  not 
much  danger  of  lifting  off  a part  of  the 
necessary  form  because  numerous  drilled 
holes  leave  a honeycomb  effect  which  is 
very  substantial. 

After  repeated  drillings,  you  then  use 
small,  sharp,  plain  chisels  to  cut  away  the 
remaining  part.  It  is  advisable  to  cut 
and  clean  each  part  as  the  carving  pro- 
ceeds and  by  cutting  in  relief  places  be 
sure  to  leave  some  drill  effect,  which  will 
act  as  a sort  of  bridge  which  keeps  the 
parts  solid.  Ofttimes  when  there  is  dan- 
ger of  a breakage,  one  can  introduce  a 
small  piece  of  wood — a match,  for  in- 
stance— that  has  been  cut  the  required 
length,  and  with  a small  bit  of  plaster  of 
Paris  on  each  end,  it  is  then  inserted  into 
the  cavity,  which  makes  a solid  foundation 
to  work  on.  To  remove  the  wedge,  do 

not  hammer  off,  because  a jar  might 


64 


MONUMENT  DEALER’S  MANUAL 


loosen  some  part  of  the  decoration,  but 
cut  through  the  wood  with  a knife.  Each 
end  is  removed  by  scraping  with  a chisel 
held  in  the  hand,  but  not  by  a hammer. 

Drills  for  use  in  a pneumatic  hammer 
are  similar  for  both  marble  and  granite; 
only  the  marble  drill  has  more  flare  than 
the  one  for  granite,  as  shown  in  the  illus- 
tration. A workman  must  have  a variety 
of  sizes  of  drills  from  1-inch  down  to 
%-inch,  and  several  of  each  size.  Never 
try  to  drill  with  one  that  is  dull,  for  the 
result  will  be  very  slow  progress  and 
often  breaking  off  of  parts. 

* * * 

FILLING  HOLES  IN  GRANITE 
LETTERS. 

A good  quick,  substantial  way  to  get  the 
effect  of  color  in  filling  holes  in  granite 
letters  is  accomplished  in  this  manner : 
Use  white  lead  and  lead  pencil  dust. 
Sharpen  a pencil  with  a long  point  and 
scrape  the  point  into  dust  on  some  smooth 
surface.  Add  the  black  dust  to  some  white 
lead  and  use  a knife  blade  for  a palette 
knife  to  mix  the  two  ingredients  together. 
The  proper  color  can  readily  be  determined 
by  taking  a small  quantity  on  a knife  blade 
and  holding  close  to  the  granite  to  see 
if  too  light  or  too  dark.  If  too  dark,  add 
more  white  lead,  and  if  too  light,  add 
more  black  lead.  This  operation  is  quickly 
accomplished,  and  the  proper  color  is  easy 
to  get.  The  white  lead  will,  when  dry, 
stick  to  the  granite  and  become  hard, 
and  the  mended  place  will  not  be  seen. 
The  end  of  a raised  letter  may  be  filled  in 
this  manner  with  success. 

* * * 

HOW  TO  CUT  MITRES. 

A great  mistake  in  letter  cutting  is  the 
unevenness  of  the  mitres  of  such  letters  as 
the  M and  W.  The  correct  way  to  cut 
them  is  to  have  both  on  the  same 
horizontal  line.  These  mitres  do  not 

show  as  plainly  on  light  granite  ana 

marble  as  they  do  on  dark  stone  where 
the  contrast  of  the  polished  surface  and 
the  cut  letter  is  very  great.  Even  traced 
letters  like  those  we  see  on  red  granites, 
show  this  mistake  more  than  any  other 
cut  letter  for  the  reason  that  there  is  more 
contrast  between  the  polished  letter  if 

raised  or  the  white  of  a cut  sunk  letter, 
on  this  kind  of  granite.  All  letters  cut  on 
marble  or  granite  thus  should  be  watched 
and  be  cut  correctly. 


POLISHED  RAISED  LETTERS. 

In  cutting  polished  raised  letters  I find 
that  the  best  way  to  keep  from  breaking 
off  chips  and  ends  is  to  cut  all  ends  last. 
The  inside  of  the  M,  N,  W and  letters  that 
miter  I have  also  found  out  should  be  cut 
before  the  outside.  To  cut  a raised  letter, 


SAFE  WAY  TO  BEGIN  CUT- 
TING POLISHED  RAISED 
LETTERS. 


supposing  it  to  be  an  H,  four  inches  long: 
First  rough  out  at  all  sides  and  on  both 
sides  of  the  crossbar  before  cutting  the 
ends.  This  is  better  than  cutting  the  ends 
first.  And  when  the  edges  are  chipped  the 
same  system  holds  good  when  they  are 
to  be  cleaned.  Always  leave  the  ends  last, 
for  by  so  doing  it  insures  a more  solid 
bar  while  cutting  the  sides,  which  are  more 
difficult  than  the  ends.  Cutting  an  M and 
W is  difficult,  for  one  sometimes  gets  the 
chisel  pinched  and  off  comes  a corner.  By 
cutting  the  V shape  inside  before  cutting 
the  outside,  and  then  cutting  the  ends,  is 
the  best  way  to  insure  cutting  a clear  let- 
ter, whether  they  be  four  inches  or  one 
inch  long.  The  accompanying  illustration 
will  help  make  this  point  clear.  J.  W. 

* * * 

LETTERING  ROUND  TOP 
MARKERS. 

It  is  difficult  to  chip  granite  letters  on  a 
round  top  marker  when  using  a stiff, 
straight  edge,  because  this  cannot  be  held 
closely  against  the  surface  of  the  stone, 
and  when  you  do  not  hold  the  straight 
edge  very  solid  the  result  is  always  an  un- 
even line.  If  the  blade  of  a bevel  square 
or  a thin,  straight-edged  piece  of  sheet  iron 
is  used  for  that  purpose,  the  result  of  chip- 


CHIPPING  A LETTER  BAND,  USING  A 
BEVEL  SQUARE  BLADE  FOR  A GUIDE. 


MONUMENT  DEALER’S  MANUAL 


65 


ping  is  more  satisfactory.  The  thin  iron 
can  be  bent  into  the  same  circular  form  as 
the  top  of  the  stone  and  closely  down 
against  it.  One  man  must  hold  the  bevel 


square  firmly  while  another  chips  the  edges 
with  a chisel.  Both  men  must  watch  the 
edge  at  all  times,  so  that  a straight,  even 
line  can  be  chipped.  Foreman. 


ROMAN  OR  COLONIAL  LETTERS. 


FIG.  19;  FIGURES  FOR  A MODIFIED  ROMAN  ALPHABET 


The  alphabet  and  numerals  here  illus- 
trated are  from  the  Roman,  16th  century. 
These  were  used  mostly  on  Colonial  monu- 
ments and  headstones.  The  letters  do  not 


stone,  raised  or  sunken,  to  a good  effect. 

J.  W.  W. 

The  figures  for  the  modified  Roman 
alphabet  here  drawn  in  Fig.  19  all  have 


have  a mechanical  width  and  can  be  nar- 
rowed or  widened  to  suit  the  line  they  are 
drawn  in  so  that  the  spacing  may  be  cor- 
rect ; and  it  is  not  necessary  to  change  the 
width  of  all  when  one  or  two  have  to  be 
transformed.  For  instance,  E,  F,  H,  O,  Q 
and  U are  suitable  letters  for  changing 
of  width.  Letters  of  this  kind  are  the  most 
artistic  of  any  ever  used  and  can  be  cut  in 


the  same  spacing  and  guide  line  as  the  let- 
ters. The  guide  lines  have  been  drawn, 
and  on  inking  in,  have  been  left  out  show- 
ing how  they  look  when  finished.  The 
beauty  of  these  figures  is  their  graceful 
curve  which  starts  at  the  top  center  in 
many  cases  like  the  6,  9,  8,  0 and  continues 
in  one  graceful  line  to  the  bottom  center. 
The  center  of  the  letter  will  be  seen  to  be 
at  the  extreme  outside. 


ROUND  RAISED  LETTERS. 


In  discussing  how  to  finish  a high-class 
round  raised  letter,  a few  words  on  rough- 
ing out  may  not  be  amiss,  for  the  reason 
that  if  they  are  not  roughed  out  correct- 
ly a high-class  finish  cannot  be  accomplish- 
ed. Start  with  a one-inch  tool  and  rough 
out  from  the  centers  of  all  the  bars,  one 
at  a time ; rough  out  the  required  depth  on 
each  letter  before  going  to  another.  Do 
not  cut  a line  at  the  top  and  bottom  of  all 
letters  the  first  thing,  because  those  top  and 
bottom  lines  must  be  cut  last  to  prevent 
breaking  off  of  bars.  The  top  and  bottom 
of  bars  are  cut  one  at  a time  when  you 
have  finished  the  sides  of  the  bars.  Then 
they  are  cut  very  slanting.  To  clear  these 
letters  it  requires  a very  careful  stroke 
with  a smaller  machine,  and  a good  work- 
man should  know  when  he  roughs  out 
whether  the  letters  are  on  the  head  grain 
or  on  the  riff.  If  they  are  on  the  head 
grain  they  are  pretty  safe  to  be  cut,  but 
-it  requires  very  careful  execution  to  cut  a 
raised  round  letter  on  the  riff.  He  must 
be  guided  by  the  knowledge  he  gains  when 
roughing  out  how  to  clean.  In  cleaning 
these  letters  one  should,  as  in  roughing 
out,  clear  all  the  sides  first  before  the 
ends  are  touched,  and  the  inside  of  the 
A,  K,  M,  N,  W,  X and  Y should  be 
cleaned  bofore  the  outside.  Then  there  is 
no  danger  of  pinching  off  the  bar.  These 
letters  must  be  left  raised  a little  more 
than  one-half  of  their  width.  Most  work- 
men do  not  raise  these  letters  high  enough. 
A sharp  corner  must  be  left  at  the  con- 
junction of  the  bottom  of  the  bars  and  the 
bottom  surface.  This  is  accomplished  by 
always  holding  the  tool  straight  up  and 
making  the  cuts  with  the  full  width  of  the 
chisel  blade  from  the  top  of  the  bar  to. 
the  bottom.  It  requires  many  cuts  to  get 
it  down  evenly  all  along  the  length  of 
the  letter.  Do  not  use  the  corner  of  the 
chisel  to  cut  these  bars,  for  a corner  helps 
lift  them  more  than  the  flat  full  length 
of  the  chisel.  When  these  sides  are  down 
to  the  bottom  on  each  side  and  the  bar  is 
the  proper  width,  cut  off  the  unevenness 
near  the  top  and  proceed  to  clean  by  hold- 
ing the  chisel  lengthwise  of  all  bars.  Work 
backward  and  forward  from  bottom  to 
top  and  from  top  to  bottom  of  each  bar 
until  it  is  smooth.  The  very  last  cutting 
to  do  is  to  cut  the  ends  of  a letter  after 
it  is  finished  all  around.  There  is  then 
only  a very  small  particle  of  unevenness 
left  near  these  bottoms  and  tops  to  be 


cleaned,  and  the  letter  is  finished.  It  is 
always  well  to  have  a sponge  with  water 
and  keep  the  granite  well  soaked.  This 
makes  cutting  easier  to  the  machine  and 
to  the  man. 

When  cutting  round  raised  letters  al- 
ways leave  the  C,  G,  J,  O,  Q,  S,  and  U 
longer  than  the  other  letters,  for  the  rea- 
son they  always  appear  shorter  than  the 


other  ones  which  come  full  height  to  the 
line.  They  are  not  in  the  same  plane.  Fig. 
2 at  the  top  line  will  show  this.  The  “I” 
comes  out  to  the  line  at  its  full  height 
and  the  full  height  of  the  “O”  is  in  the 
center  of.  the  bar.  Therefore,  when  look- 
ing at  them,  the  “I”  is  higher  on  the  line 
for  the  “O”  goes  around  to  the  top  line 
from  the  center  of  bar.  Also  the  “0,J 
recedes  from  you  and  is  foreshortened 
and  at  all  times  appears  shorter.  The  bot- 
tom is  the  same,  only  more  so.  They 
should  be  cut  longer  than  the  top  one,  for 
there  are  shadows  to  contend  with.  The 
light  is  always  from  a point  higher  than 
the  letters,  which  makes  the  letters  throw 
a shadow  downward  and  letters  on  differ- 
ent planes  will  not  throw  the  same  shadow. 
The  bottom  of  Fig.  3 illustrates  how  a 
shadow  falls  from  the  bottom  line  of 
round  letters.  The  distances  of  shadows 
marked  on  this  diagram  are  the  same 
from  the  top  planes.  The  plane  of  the  “I” 
comes  out  square  against  the  line  at  its 
full  height,  and  the  “O”  does  not,  for 
the  height  its  shadow  will  come  from  is 
in  the  center  of  the  bar.  To  more  fully 
illustrate  this,  use  two  small  match  boxes, 
one  one-eighth  inch  behind  the  line  of  the 
other.  You  will  see  the  shadow  will  be 
one-eighth  short  of  the  front  box.  Nearly 
all  designs,  photographs  or  monuments 
in  the  cemetery  show  this  fault  when  they 
have  names  in  round  letters,  and  the 
larger  the  letter  is  the  shorter  they  ap- 
pear, for  there  is  more  foreshortening  at 
the  top  line  and  the  shadow  decreases  on 
the  bottom  line.  Fig.  2 shows  how  they 
are  commonly  laid  out  and  Fig.  3 illus- 
trates how  they  should  be. 


MONUMENT  DEALER’S  MANUAL 


67 


SHADING  TRACED  WORK. 

The  shading  of  tracing  on  Quincy,  Mis- 
souri, Montello  and  other  granites  of  sim- 
ilar nature  and  also  marble  of  dark  color 
to  give  the  effect  of  bas-relief  is  accom- 
plished by  first  cutting  a true  outline  and 
to  give  the  proper  effect  they  must  appear 
raised.  Use  a small  piece  of  coarse  car- 


SHADING  TRACED  WORK. 


borundum  which  has  a sharp  edge  and 
scratch  evenly  on  all  places  that  require 
a shadow  or  half  tone;  always  use  a dry 
piece  to  insure  good  scratching  for  when 
wet  it  dampens  the  stone  and  makes  the 
lines  too  dim  to  work  to  any  advantage. 
The  illustration  shows  how  this  is  accom- 
plished. 

AN  IMPROVED  LETTERING 
SQUARE. 

Gus  Lynch  has  devised  an  improved 
lettering  square  which  he  believes  to  be  a 
good  time-saver  and  aid  to  accuracy  and 
uniformity  in  laying  out  inscriptions.  It 
resembles  somewhat  an  ordinary  T-square, 


but  has  both  blades  graduated,  and  one 
of  them  fastened  to  a groove  in  the  other 
by  means  of  a set  screw.  The  horizontal 
blade  can  thus  be  placed  at  any  angle  and 
moved  up  and  down  the  other  blade  in 
any  desired  position.  It  can  be  used  on 
either  a square  or  diminishing  die,  with- 
out a center  line  on  the  bottom  or  at  the 
sides,  and  is  of  simple  construction.  It 
can  be  made  of  hardwood  or  metal,  with 
the  vertical  blade  about  one-half  inch 
thick  and  the  horizontal  blade  one-fourth, 
inch  thick. 

TEMPERING  LETTERING  CHISELS 
FOR  GRANITE. 

The  best  way  to  temper  lettering  chisels 
for  granite  is  never  to  heat  the  tool  over 
a cherry  red,  and  in  drawing  it,  do  all 
the  hammering  you  do  on  the  edge.  When 
you  start  to  draw  the  steel,  then  draw 
the  flat  side  of  the  tool  to  the  thickness 
you  wish  it,  then  heat  it  till  it  is  just  turn- 
ing red  and  stick  it  into  a raw  potato  % 
of  an  inch.  Hold  it  in  tight  6 or  7 sec- 
onds and  draw  it  out  of  the  potato  and 
chuck  it  into  your  cooling  water.  When 
cool,  it  is  ready  to  grind. 

Wm.  Benson. 

TOOLS  FOR  RAISED  LETTERS. 

Editor  Asked  and  Answered : Will  some 
first  class  workman  please  tell  just  what 
tools  are  required  to  cut  2-inch  round 
raised  letters?  Have  an  air  plant  and 
%-inch  tool. — J.  C.,  Wis. 

The  proper  tools  to  use  to  cut  2-inch 
round  letters  are  about  the  same  as  for 
other  letters.  That  is,  if  the  letters  spoken 
of  are  for  granite,  but  if  for  marble  they 
would  be  somewhat  different. 

For  granite  you  should  have  at  least  4 
dozen  %-inch  plain  pneumatic  chisels;  part 
of  these  will  be  dull  and  being  sharpened 
by  the  blacksmith  at  all  times.  The  other 
part  will  be  in  use,  as  they  will  be  sharp. 
In  such  a kit  there  should  be  at  least  8 or 
10  narrow  blades  from  %-inch  to  %-inch 
wide.  These  are  used  to  cut  inside  of 
letters  and  in  small  places  on  the  outside. 

Before  the  actual  cutting  of  letters  com- 
mences the  background  must  be  worked 
down  to  the  required  depth.  Some  work- 
men use  a hand  hammer  and  points.  If  so 
you  should  have  one  dozen  of  them,  % 
inch  steel.  Other  workmen  use  roughers 
to  work  down  the  back  ground ; two 
kinds  are  used — first,  one  with  four  points 


68 


MONUMENT  DEALER’S  MANUAL 


made  from  short  %-inch  chisels.  Then  on 
top  of  this  work  they  use  another  rough- 
er that  is  1 inch  or  more  wide  that  has  a 
double  row  of  teeth,  also  one  that  has  a 
single  row  of  teeth.  Two  of  each  kind 
should  be  on  hand.  Next  on  top  of  the 
last  rougher  use  a double  blade  plain 
chisel  1 inch  or  more  wide  for  the  large 
places  and  then  a single  blade  chisel  for 
the  small  ones.  One  also  uses  these 
single  blade  wide  chisels  to  clean  up  the 
background  after  the  letters  are  all  cut. 
At  least  5 of  this  kind  should  be  on  the 
work  bench.  The  last  one  should  be  a 
small  bush  chisel  to  work  over  the  ground 
before  using  the  cleaners,  as  the  1-inch 
chisels  are  called.  It  is  always  handy  to 
have  some  of  the  smaller  chisels  rounding 
at  the  corners,  as  they  are  very  handy 
when  cutting  on  the  inside  of  an  A,  B,  R 
and  letters  similar. 

The  tools  used  when  cutting  marble  let- 
ters that  are  round  are  about  the  same  as 
for  granite  except  that  you  will  need  tooth 
chisels  to  rough  out  with  instead  of  Tough- 
ers, and  the  small  chisels  must  be  sharp- 
ened in  different  forms  as  one  needs  them. 
The  frosting  tool  takes  the  place  of  the 
bush  chisel  when  cleaning  up  the  back- 
ground. 


TURPENTINE  AND  SUBSTITUTES. 

The  statement  has  been  made  that  the 
fumes  of  turpentine  are  injurious.  These 
fumes  are  not  injurious,  and  on  the  other 
hand  are  really  beneficial.  One  of  the 
favorite  remedies  for  cold  and  sore  throat 
in  the  South,  the  home  of  the  pine  tree, 
is  to  breathe  the  fumes  which  arise  from 
steaming  water  into  which  turpentine  has 
been  poured.  Turpentine  taken  internally 
has  certain  curative  properties  recognized 
by  physicians  everywhere. 

A Southerner. 

For  one  who  wishes  a substitute  for 
turpentine,  in  certain  districts  they  mse 
coal  oil  or  lamp  oil  the  same  as  turpen- 
tine with  a small  brush  wetting  4 or  5 
letters  ahead  of  one’s  work.  The  odor  is 
not  quite  so  offensive.  It  does  not  dry 
out  so  quickly  while  cutting,  has  the  same 
effect  as  turpentine  and  is  perfectly  harm- 
less when  used  moderately  as  you  would 
use  turpentine. 

Another  substitute  for  turpentine  rec- 
ommended is  the  following : V2  pint  com- 
mon lamp  oil,  V'2  pint  of  turpentine.  This 
does  not  have  the  disagreeable  odor,  and 
is  much  better  in  warm  weather,  as  it 
does  not  dry  so  quickly  and  has  more 
chance  to  penetrate. 


LEADED  LETTERING  FOR  MONUMENTAL  WORK. 


It  is  interesting  to  observe  how,  in 
America,  certain  styles  or  modes  of  letter- 
ing have  been  adopted,  in  spite  of  the  fact 
that  foreign  influences  have  been  brought 
to  bear  which  one  would  think  would  be 
strong  enough  to  turn  the  tide  of  fashion 
in  their  favor. 

That  such  a turn  does  not  occur  is  prob- 
ably a token  that  the  country  prefers  to 
assert  its  own  individuality,  and  calmly 
goes  in  its  own  groove,  for  better  or  worse, 
as  the  case  may  be. 

Although  it  may  not  have  occurred  to 
everyone,  the  custom  of  placing  the  family 
name  prominently  on  the  face  of  the 
monument,  in  the  place  usually  set  aside 
for  the  inscription,  is  peculiarly  American, 
and  until  recent  years  it  was  unusual  in 
Europe  to  display  the  family  name  promi- 
nently on  the  monument  at  all.  Even  now, 
while  the  name  is  often  made  larger,  it  is 
usual  to  confine  it  to  the  base  or  else- 
where so  that  it  will  in  no  way  interfere 
with  the  space  for  inscription,  which  is 
always  cut  on  the  monument  itself. 

In  considering  the  evolution  of  the 


present  day  monument,  one  is  forced  to 
the  conclusion  that  after  all,  the  paneled 
portion  of  the  monument,  usually  on  the 
face  of  the  die,  is  intended  to  contain  a 
record  of  the  interments  in  the  adjacent 
graves. 

Owing  to  the  high  cost  of  land,  it  is 
customary  in  European  cemeteries  to  make 
several  interments  in  one  grave,  and  if  a 
separate  marker  were  to  be  placed  on  the 
grave  for  every  interment,  the  result  would 
be  ludicrous  in  the  extreme.  Conse- 
quently the  use  of  the  panel  for  the  in- 
scription is  imperative. 

Over  there  the  letters  of  the  inscrip- 
tion are  very  seldom  left  with  a tool  finish 
only,  but  are  usually  painted,  gilded  or 
filled  with  lead. 

Little  can  be  said  in  favor  of  the  painting 
or  gilding.  The  smaller  size  of  the  letters 
used  is  the  only  justification  for  this  class 
of  work,  but  the  leaded  letter,  carefully 
handled  and  artistically  considered,  may  be 
used  to  great  advantage,  giving,  as  it  does, 
extreme  legibility  with  a complete  absence 
of  any  garish  effect. 


MONUMENT  DEALER’S  MANUAL 


69 


The  practice  of  leading  letters  seems  to 
be  little  known  in  the  States,  and  perhaps 
it  would  not  be  amiss  to  explain  just  how 
this  is  accomplished. 

In  the  first  place,  let  it  be  said  that  to 
lead  letters  on  any  polished  surface  as 
dark  as,  or  darker  than,  that  of  Barre 
granite,  would  simply  be  a waste  of  effort, 
as  the  resulting  inscription  would  be  almost 
illegible.  But  on  the  fine  axed  surface  of 
any  light  granite  or  on  a light  polished 
surface  like  that  of  Balfour  Pink,  the 
effect  would  be  very  good  indeed. 

It  is  necessary  to  draw  out  the  lettering 
very  carefully  as  by  this  process  the  in- 
scription becomes  much  more  prominent 


S>E.CTlO« 

F«i.  Z 


LETTER  CUT  AND  HOLES  DRILLED  FOR 
LEAD. 


and  any  carelessly  formed  letters  or  bad 
spacing  will  be  more  readily  noticed  than 
in  an  inscription  that  is  cut  only. 

The  letters  should  be  kept  fairly  small 
in  size  and  light  as  to  width  of  stem.  A 
well  drawn  classic  letter  would  perhaps 
lend  itself  best  for  this  purpose,  but  care 
would  have  to  be  taken  that  the  slender 
parts  of  the  letters  were  not  too  fine,  as  in 


r»Q  e 

MALLET  FOR  LEADING. 


that  case  the  lead  would  be  apt  to  become 
loose,  with  disastrous  results. 

In  making  a leaded  letter  it  is  custo- 
mary to  cut  the  letters  in  the  usual  V 
sunk  manner  as  in  Fig.  1.  At  each  cor- 


DRESSING  OFF  LEAD. 


ner  and  in  the  center  of  each  bar  or  curve 
a little  hole  is  then  to  be  drilled,  sloping 
these  holes  away  from  each  other  in  an 
outward  direction  so  as  to  form  a key  to 
hold  the  lead  in  place. 

The  lead  is  not  to  be  run  into  the  letter 
in  a molten  form,  but  should  be  hammered 
in  dry.  In  some  localities  it  is  customary 
to  use  lead  wire  for  this  purpose.  This 
may  vary  in  thickness  from  one-eighth  to 
a quarter  inch  diameter,  according  to  the 
size  of  the  lettering,  but  for  a letter  wfith 
stem  one-quarter  inch  wide  probably  three- 
sixteenths  inch  lead  would  answer. 

The  lead  wire  may  be  bent  roughly  to 
the  shape  of  the  letter,  as  in  Fig.  3,  and 
hammered  in  until  the  letter  is  filled  up 
fair  and  level.  Where  much  lead  lettering 
is  done  it  is  customary  to  use  a vulcanite 
mallet  for  this  purpose,  of  the  form  shown 
in  Fig.  6.  This,  however,  is  not  abso- 
lutely essential,  and  a metallic  mallet  with 
a slightly  rounded  face  can  be  used,  pro- 
vided care  is  taken  not  to  stun  the  sur- 
face of  the  granite  around  the  letters. 

After  the  lead  has  been  beaten  in,  the 
edges  of  the  letter  will  require  to  be 
trimmed  with  the  chisel  in  order  that  a 
crisp,  cleancut  effect  may  be  obtained. 

Sheet  lead  about  one-eighth  inch  thick 
may  be  used  in  place  of  lead  wire.  A strip 
of  lead,  corresponding  in  width  to  the 
height  of  the  letters,  may  be  laid  along 
the  line  as  shown  in  Fig.  4,  or  each  letter 
may  be  treated  individually.  When  the 
lead  is  hammered  in  the  outline  of  the  let- 
ters will  appear  faintly  on  the  surface. 
The  lead  can  then  be  dressed  off  with  the 
chisel  and  finished  as  before.  Fig.  5. 


70 


MONUMENT  DEALER’S  MANUAL 


By  using  somewhat  heavier  sheet  lead 
the  letters  may  be  slightly  raised  above 
the  surface.  This  adds  greatly  to  their 
appearance  and  the  result  is  much  better 
than  in  the  case  of  the  flush  letter. 

In  the  case  of  letters  on  a polished  sur- 
face, part  of  the  labor  of  finishing  can  be 
dispensed  with.  After  the  lead  has  been 
hammered  in,  the  superfluous  metal  may 
be  pared  off  with  a broad  carpenter’s 
chisel  or  a plane  iron,  giving  a level  sur- 
face with  a minimum  amount  of  trouble. 

The  greatest  objection  to  this  process  is 
that  it  leaves  the  letters  with  a glossy  sur- 
face. This  will  darken  in  time  through 
exposure  to  the  atmosphere.  Often  the 
surface  of  the  letters  is  painted  black,  but 
in  time  the  paint  will  flake  off  and  this 
plan  is  not  to  be  recommended. 

Ornament  in  leaded  outline  work  can  be 
carried  out  with  fine  and  unusual  effect. 


Some  notable  examples  of  this  class  of 
work  are  in  existence. 

Like  every  other  form  of  ornamenta- 
tion, leading  may  be  abused,  and  it  should 
not  be  used  indiscriminately.  When,  how- 
ever, legibility  is  the  first  desideratum, 
then  by  all  means  use  lead.  A lead  letter 
rightly  made  is  practically  imperishable. 

Over  in  Scotland  we  thought  we  had 
something  new  in  this  lead  lettering.  Im- 
agine our  surpise  then  when  our  works 
superintendent,  who  was  something  of  a 
Biblical  scholar,  turned  up  for  us  Job  19, 
23d  verse,  and  read  as  follows : 

“Oh  that  my  words  were  now  written ! 
Oh  that  they  were  inscribed  in  a book ! 
That  with  an  iron  pen  and  lead 
They  were  graven  in  the  rock  forever !” 
Truly,  there  is  nothing  new  under  the 
sun.  Archie  S.  Hill. 


THE  “LOCKWOOD”  PATENTED  MONUMENT  CASE. 


FOT’R  ALLEGED  INFRINGEMENTS 


For  several  years  the  ghost  of  the 
“Lockwood”  monument  disturbed  the  peace 
of  the  monument  trade,  to  a greater  or 
less  degree,  throughout  the  country.  The 
elastic  technicalities  of  patent  law  claims, 
with  their  tendency  to  grasp  at  everything 
in  and  out  of  sight,  made  it  dangerous  to 
run  the  risk  of  an  infringement  suit,  with 
the  great  uncertainty  of  results,  in  spite 
of  all  previous  knowledge  and  experience. 
The  “Lockwood”  litigation,  if  it  teaches 
one  thing  more  thoroughly  than  any  other, 
is  that  monument  designs  should  never 
receive  patent  office  protection  if  of  ordi- 
nary trade  production,  and  that  if  founded 
on  the  principles  of  art,  designed  as  pro- 
ductions of  art,  the  cause  of  art  is  seri- 
ously handicapped  by  any  such  limitations. 
It  is  also  true  as  to  the  monument  trade 


that  a patented  design  claiming  everything 
is  a decided  hindrance  and  stumbling  block 
to  improvement  in  monument  design. 

The  so-called  “Lockwood”  design  was 
patented  by  Mr.  William  H.  Young,  a 
monument  dealer  of  Troy,  N.  Y.,  who  re- 
ceived Letters  Patent  of  the  United  States, 
No.  27,115,  for  the  same  on  May  25,  1897, 
securing  all  rights  thereby  for  a period  of 
14  years. 

For  a year  or  two  Mr.  Young  continued 
to  encourage  the  sale  of  his  patent  design 
and  built  a number  of  monuments,  until 
information  came  to  him  that  Mr.  Dennis 
Daley,  a dealer  of  Cohoes,  N.  Y.,  was  sell- 
ing' monuments  of  a design  infringing  on 
his  patent.  Thereupon  on  December  12, 
1899,  Mr.  Young  filed  a bill  of  complaint 
in  the  United  States  Circuit  Court,  North- 


MONUMENT  DEALER’S  MANUAL 


71 


era  District  of  New  York,  against  Mr. 
Daley,  which  in  due  course  was  argued 
upon  evidence  taken  for  both  sides,  and  a 
decision  rendered  for  the  complainant,  on 
February  25,  1902,  awarding  him  the  roy- 
alty fee  of  $250  and  costs  amounting  to 
nearly  $200. 

The  case  was  appealed  by  Mr.  Daley  to 
the  United  States  Circuit  Court  of  Ap- 
peals for  the  Second  Circuit,  and  the  pat- 
ent was  presumably  again  sustained,  no 
written  decision  being  rendered,  and  the 
decision  of  the  court  of  trial  practically 
upheld.  The  decree  was  filed  March  30, 
1903. 

The  patent  being  thus  sustained  by  the 
New  York  courts,  there  ensued  a period 
devoted  to  the  collection  of  royalties  and 
fees  for  permits,  with  prospects  somewhat 
alarming  for  both  dealers  and  manufactur- 
ers of  monuments  using  details  similar  to 
those  covered  by  the  patent. 

On  October  23,  1903,  Mr.  Young  made 
an  assignment  of  the  patent  to  Messrs. 
Mosher  & Curtis,  attorneys  of  Troy,  N.  Y., 
who  in  turn  assigned  the  same  to  Mr.  John 
W.  CrierL  Green  Island,  N.  Y.,  on  January 
9,  1904. 

The  search  for  infringements  led  those 
interested  in  the  patent  into  the  manufac- 
turing center  of  Barre,  Vt.,  and  no  satis- 
faction being  obtained  short  of  legal  pro- 
ceedings, a suit  for  injunction  and  statu- 
tory penalties  was  instituted  by  Mr.  John 
W.  Crier  against  Messrs.  Alexander  Innes 
and  William  Marr,  administrator  of  Alex- 
ander Cruikshank,  deceased,  the  defend- 
ants being  backed  by  the  Granite  Manu- 
facturers’ Association  of  Barre,  Vt. 

It  can  also  be  readily  understood  that 
upon  the  validity  of  the  patent  practically 
rested  the  whole  case;  but  as  the  New 
York  courts  rendered  no  written  decision, 
and  only  made  a decree  covering  the  statu- 
tory fine  and  costs,  no  positive  opinion  was 
expressed  on  the  main  question.  The  com- 
plainant averred  that  in  all  the  principles 
declared  by  the  courts  in  previous  guiding 
decisions,  such  principles  as  inventive  skill, 
originality,  novelty,  etc.,  were  contained  in 
this  patent,  and  presented  numerous  deci- 
sions upholding  the  claims. 

The  case  of  Crier  vs.  Innes  & Cruick- 
shank  et  al.  for  infringement  of  the  “Lock- 
wood”  patented  monumental  design,  was 
argued  before  the  United  States  Circuit 
Court  for  the  District  of  Vermont  at  Brat- 
tleboro  November,  1907.  The  judge  ren- 
dered his  decision  in  favor  of  the  defend- 
ants, holding,  in  substance,  that  the  de- 


sign was  not  patentable,  being  merely  an 
arrangement  of  old,  and  often  used,  forms 
in  all  its  parts.  We  quote  as  follows  from 
the  judge’s  decision: 

The  answer  in  substance  denies  Young’s 
invention  as  an  original  design  for  monu- 
ments; denies  that  the  same  is  useful;  dis- 
claims knowledge  of  said  letters  patent  and 
denies  their  validity;  avers  that  every  ele- 


DRAWING  FROM  PATENT  SPECIFICA- 
TION OF  “LOCKWOOD”  MONUMENT. 

ment  of  the  design  in  question  was  in 
common  use  before  said  letters  patent,  and 
challenges  every  allegation  in  complain- 
ant’s bill  of  complaint. 

Issue  was  joined  and  a large  amount  of 
evidence  taken. 

The  patented  design  represents  a monu- 
ment with  a lower  and  upper  base  and 
upon  the  upper  base  rests  a die  which  is 
surmounted  by  a cap.  The  general  form 
of  these  members  is  rectangular,  with  two 
elongated  sides.  The  vertical  sides  of  the 
bases  and  die  exhibit  uncut  rock.  One  or 
both  of  the  long  vertical  sides  of  the  die 
are  ornamented  with  a hammered  or  pol- 
ished entablature  in  the  form  of  a central 
arch  extending  nearly  to  the  top  of  the 
side,  leaving  above  the  entablature  a pro- 
jecting tablet  of  rockwork  extending 
across  the  upper  side  of  the  die  compara- 
tively narrow  at  the  middle  of  the  side 
and  gradually  increasing  in  width  toward 
each  end.  Upon  the  face  of  the  entabla- 


72 


MONUMENT  DEALER’S  MANUAL 


ture  may  be  placed  on  arched  tablet  hav- 
ing its  upper  and  lower  border-lines  paral- 
lel with  the  border-line  of  the  arch  of  the 
entablature.  The  leading  feature  of  the 
design  consists  in  “the  ornamental  con- 
figuration of  the  die,”  and  the  letters  pat- 
ent conclude  as  follows : 

“I  do  not  wish  to  be  limited  to  a plane 
surface  for  the  arched  tablet,  as  the  same 
may  be  cut  to  form  special  designs  with 
my  general  design.  The  arched  tablet  may 
be  either  intaglio  or  relievo.  What  I claim 
is  new,  and  desire  to  secure  my  letters 
patent,  is — The  design  for  a monument 
herein  shown  and  described.” 

The  general  configuration  of  this  pat- 
ented design  is  old.  It  is  simply  the  sar- 
cophagus style.  The  evidence  shows  that 
the  two  bases  of  uncut  rockwork  were  in 
use  many  years  before  this  patent  was  ob- 
tained. The  use  of  the  die  with  an  arch 
over  the  tablature,  ornamented  with  span- 
drels of  different  design,  some  of  skilled 
carving,  some  of  plane  hammered  surface, 
and  some  of  uncut  rock  is  old  in  the  con- 
struction of  sarcophagus,  obelisk  and  cot- 
tage monuments,  and  as  to  sarcophagus 
monuments,  rectangular  designs  are  old  in 
use.  Sarcophagus  caps  of  monuments  of 
the  same  rock  shaped  configuration  as  that 
of  this  patented  design  were  in  use  many 
years  preceding  these  letters  patent.  Just 
such  an  overhanging  arch  of  rock-faced 
spandrels  extending  across  the  top,  as  in 
this  patented  design,  is  not  found  in  any 
of  the  exhibits  of  the  old  designs,  but  the 
same  idea  is  found  in  exhibits  60  and  83, 
if  not  to  say  others;  and  whether  the  pat- 
ented design  is  an  improvement  upon  the 
old  art  is  more  a matter  of  taste  than  of 
inventive  genius.  By  putting  a die  of  de- 
fendant’s exhibit  69  on  the  two  bases  of 
defendant’s  exhibit  59,  and  capping  it  with 
the  cap  of  defendant’s  exhibit  25  or  26,  or 
applying  to  the  defendant’s  design  68  the 
uncut  rockwork  of  defendant’s  exhibit  25, 
we  would  have  a monument  so  nearly  re- 
sembling this  patented  design  that,  if  this 
patent  is  sustained  it  would  be  an  infringe- 
ment ; to  the  ordinary  observer  it  would 
look  the  same  and  that  is  the  test  of  in- 
fringement, and  the  four  monuments  made 
by  the  defendants  would  be  deemed  an  in- 
fringement. 

A person  who  prefers  a sarcophagus 
monument  to  any  other  style  and  has  a 
special  fancy  for  uncut  rockwork,  visiting 
a cemetery  in  which  there  has  been  placed 
the  Stewart  monument,  defendant’s  exhibit 
85,  and  a monument  constructed  from  the 


design  of  defendant’s  exhibits  68  and  25, 
and  concludes  to  use  the  two  bases  85,  the 
die  of  68,  by  changing  the  spandrels  over 
the  entablature  from  carving  to  uncut  rock- 
work, and  using  the  cap  of  25,  would  have 
a monument  in  general  appearance  like  this 
patent,  and  should  he  prevail  upon  some 
stone  cutter  to  make  a monument  to  suit 
such  a taste,  he  would  quite  likely  get  that 
stone  cutter  into  chancery  for  having  in- 
fringed this  patent;  yet  nothing  would 
have  been  done  except  to  assemble  old 
parts.  No  one  of  those  elements  contrib- 
utes to  the  completed  result  any  new  fea- 
ture except  to  meet  the  taste  of  the  person 
making  the  selection,  and  therein  applies 
the  doctrine  in  Pickering  vs.  McCullough, 
104  U.  S.  310 : 

“No  one  of  them  adds  to  the  combina- 
tion anything  more  than  its  separate  inde- 
pendent effect ; no  one  of  them  gives  any 
additional  efficiency  to  the  other  or  changes 
in  any  way  the  mode  or  result  of  its  action. 
In  a patented  combination  of  old  elements, 
all  the  constituents  must  so  enter  into  it 
as  that  each  qualifies  every  other ; to  draw 
an  illustration  from  another  branch  of  law 
they  must  be  joint  tenants  of  the  domain 
of  invention,  seized  each  of  every  part  per 
mi  et  per  tout,  and  not  mere  tenants  in 
common  with  separate  interests  and  es- 
tates.” 

It  was  said  by  Judge  Aldrich  in  Perry 
vs.  Hoskins,  111  Federal  1002,  relative  to  a 
design  for  a monument : 

“All  the  features  in  detail  must  be  treat- 
ed as  old,  for  the  stone  cutter’s  art,  as 
known  and  practiced  from  a very  early 
period,  has  covered  all  conceivable  shapes 
and  forms  in  monuments  in  statuary,  and 
the  combination  does  not,  as  it  seems  to 
me,  amount  to  a new  and  original  design.” 

The  lines  of  a draftsman  and  the  chisel 
work  of  a sculptor  of  this  day  and  genera- 
tion are  practically  an  imitation  of  old  lines 
and  old  works.  I somewhat  question 
whether  Congress  by  its  legislation  on 
patents  intended  to  include  monuments  as 
works  of  manufacture,  but,  assuming  as 
such  was  its  intent,  there  was  but  a small 
field  opened  to  the  genius  of  invention  in 
monumental  designs. 

It  is  claimed  by  this  assignee  of  the  pat- 
ent in  question  that  the  ornamentation  of 
the  uncut  rockwork  overhanging  the  en- 
tablature on  the  die  is  a special  feature  and 
novelty.  Evidently,  from  the  comments 
and  decision  of  the  learned  and  experi- 
enced judge  who  tried  the  Daley  case,  the 
patentee  established  that  fact  from  the  evi- 


MONUMENT  DEALER’S  MANUAL 


73 


dence  in  that  case,  but  it  does  not  so  ap- 
pear in  the  case  that  is  before  me.  The 
same  idea  is  found  in  the  die  of  several 
of  the  defendant’s  exhibits,  the  only  dif- 
ference being  in  the  shape  and  proportions 
of  the  die  and  the  good  taste  manifested  in 
the  general  configuration  of  the  whole 
monument.  If  a mere  change  in  shape  and 
proportions  is  to  be  construed  as  a patent- 
able novelty,  then  the  defendants  have  not 
infringed,  for  the  monuments  of  their  con- 
struction on  which  the  complainant  bases 
this  action,  differ  from  the  patented  design, 
in  both  shape  and  size  ; but  in  the  design  this 
special  feature  of  the  die  as  set  out  in  the 
letters  patent  is  not  the  basis  of  the  patent. 
The  patent  is  a design  of  a complete  mon- 
ument and,  from  the  evidence  in  this  case, 
it  appears  that  it  is  composed  entirely  of 
ideas  that  are  old.  The  only  new  thing 
about  the  complainant’s  design  that  I am 
able  to  discover  from  all  the  evidence  in 
the  case,  is  its  shape  and  form  as  the  result 
of  the  assembling  of  old  parts  and  old 
ideas. 

Justice  Swayne,  speaking  for  the  Su- 
preme Court,  therein  said : 

“A  mere  carrying  forward  of  new  or 
more  extended  application  of  the  original 
thought,  a change  only  in  form,  propor- 
tions or  degree,  the  substitution  of  equiva- 
lents, doing  substantially  the  same  thing 
in  the  same  way  by  substantially  the  same 


means  with  better  results,  is  not  such  in- 
vention as  will  sustain  a patent.  These 
rules  apply  alike,  whether  what  preceded 
was  covered  by  a patent  or  rested  only  in 
public  knowledge  and  use.  In  neither  case 
can  there  be  an  invasion  of  such  domain 
and  an  appropriation  of  anything  found 
there.  In  one  case  everything  belongs  to 
the  prior  patentee;  in  the  other,  to  the  pub- 
lic at  large.” 

In  view  of  all  the  evidence  in  this  case 
as  to  the  state  of  the  prior  art,  I am  un- 
able to  find  in  this  design  invention.  It  is 
the  skill  of  the  draftsman. 

The  pleadings  raise  an  issue  of  fact  as 
to  whether  defendant  Marr,  an  admin- 
istrator since  the  death  of  Cruickshank, 
has  been  interested  in  the  manufacture  of 
the  monuments  in  question.  The  com- 
plainant claims  that  the  defendants  have 
made  four  monuments  that  infringe.  I 
find,  from  the  evidence,  that  those  monu- 
ments were  constructed  before  the  death 
of  Cruickshank,  and  that  neither  Innes,  his 
partner  Cruickshank,  nor  Marr,  the  ad- 
ministrator of  Cruickshank,  knew  of  the 
existence  of  this  patent  or  that  they  were 
making  monuments  the  design  of  which 
was  covered  by  letters  patent.  For  the  rea- 
sons above  set  forth,  I think  the  bill  should 
be  dismissed,  and  it  is  so  ordered.  Deci- 
sion as  to  costs  reversed. — James  L.  Mar- 
tin, Judge. 


MAUSOLEUMS  AND 
MAUSOLEUM  WORK 


ENDOWMENT  OF  PRIVATE 
MAUSOLEUMS. 

By  Frank  Enrich,  Superintendent  Wood- 
lawn  Cemetery,  Detroit. 

Suitable  and  comprehensive  rules  and 
regulations  should  be  established  for  the 
proper  construction  of  mausoleums  and 
emphasized  strongly  the  equally  important 
necessity  of  finding  ways  and  means  to 
provide  adequate  funds  for  their  future 
maintenance.  From  time  to  time  for  many 
years  this  subject  has  been  before  ceme- 
teries. It  has,  however,  never  received  the 
earnest  thought  it  should  have  had  and 
therefore  very  little  has  been  done  to  bring 
about  some  action  looking  for  the  future 
care  of  these  structures. 

The  increasing  number  of  mausoleums 
going  up  every  year,  the  sharp  competition 
threatening  to  cheapen  these  structures 
are  sufficient  reasons  why  cemeteries 
should  no  longer  show  apathy  regarding 
this  subject,  but  should  give  it  the  most 
thorough  and  careful  consideration  and 
follow  same  by  such  action  that  will  be 
no  hardship  on  the  owners  and  will  be  a 
safeguard  for  the  stability  and  perma- 
nency of  these  structures. 

There  is  no  doubt  that  this  is  at  the  pres- 
ent the  most  difficult  and  troublesome 
problem  for  cemeteries  to  solve  satisfac- 
torily. It  is  as  important  or  even  more  so 
than  the  permanent  care  of  the  cemetery 
itself. 

Inasmuch  as  the  cost  of  future  mainte- 
nance of  such  structures  will  depend  al- 
most entirely  on  the  material  and  construc- 
tion it  will  be  in  place  here  to  discuss  a 
few  important  items  entering  in  the  prob- 
lem. 

For  instance  it  can  easily  be  understood 
that  a building  constructed  of  large  stones 


with  a minimum  of  joints,  particularly  in 
the  roof  construction,  would  require  much 
less  repair  and  looking  after  than  one 
built  of  numerous  small  courses  with  a 
multiplicity  of  joints. 

Again  a building  having  a flimsy  light 
interior  construction  of  crypts  and  marble 
lining,  the  latter  usually  pinned  to  outer 
walls  with  light  copper  wire  and  plaster 
of  paris  will  require  much  more  attention, 
and  much  sooner,  too,  than  one  in  which 
the  interior  is  of  solid  material  and  con- 
structed so  that  it  would  be  self  support- 
ing. 

Of  vast  importance  and  not  appreciated 
as  much  as  it  should  be,  is  the  matter  of 
ventilation. 

It  has  been  said  and  the  idea  no  doubt 
in  many  buildings  carried  out,  that  mau- 
seloums  should  have  only  dead  air  spaces, 
and  some  designers  even  claim  that  the 
entire  elimination  of  air  spaces  is  the 
proper  thing. 

I think  that  is  a grave  error;  my  own 
observation  and  experience  have  proven  to 
me  beyond  all  doubt  that  the  larger  and 
more  air  spaces  provided  and  having 
the  proper  inlets  for  the  atmosphere  to 
enter  and  permeate  all  of  them,  the  less 
condensation  will  appear  and  this  will 
be  more  quickly  neutralized,  if  any  does 
appear. 

There  should  be  an  ample  air  space  be- 
low the  floor  of  every  mausoleum  to  which 
openings  should  be  left  passing  from  the 
air  spaces  between  the  outer  walls  under- 
neath the  floor,  so  that  all  of  them  will 
communicate. 

I have  also  found  that  if  the  upper  air 
inlets  are  more  numerous  than  the  lower 
ones,  a more  effective  current  of  air  is 
produced  on  the  proven  theory  that  warm 


MONUMENT  DEALER’S  MANUAL 


air  entering  the  upper  ducts  will  create  a 
draft  and  draw  the  cool  air  through  the 
lower  ones. 

In  designing  a mausoleum  the  fact  must 
not  be  lost  sight  of  that  no  provision  can 
be  made  for  heat.  For  that  reason  I con- 
tend that  the  next  best  thing  to  do  is  to 
provide  liberally  for  air  to  enter  and  per- 
meate between  and  through  the  various 
parts  of  the  building,  thus  assisting  in 
evaporating  moisture,  which  the  materials 
usually  used  in  mausoleum  construction 
absorb  in  an  astonishing  degree. 

Adjustable  shutters  might  be  used  to 
close  the  exterior  air  inlets  during  the  win- 
ter months,  to  be  opened  again  early  in 
spring. 

I suggest  this  because  we  have  found  it 
beneficial  to  do  so  in  our  public  vault 
which,  without  any  mechanical  appliances 
for  purifying  the  air,  has  shown  eminent- 
ly satisfactory  results  in  being  dry  at  all 
seasons  of  the  year. 

In  high  and  dry  localities  and  where 
there  are  no  severe  and  sudden  climatic 
changes,  precautions  of  this  kind  probably 
would  not  be  needed. 

If  by  proper  methods  of  construction 
leakage  is  prevented,  and  a dry  interior  is 
secured  by  ventilation,  the  most  destruc- 
tive forces  affecting  the  durability  of  a 
structure  have  been  eliminated. 

It  seems  to  be  an  admitted  fact  that 
granite  is  the  best  material  for  mausoleum 
construction  and  no  doubt  it  is.  In  no 
other  material  is  it  possible  to  obtain  such 
large  pieces  as  are  often  required  for  roofs, 
etc.  This  enables  the  designer  to  make  use 
of  large  stones,  particularly  for  the  roof 
construction,  thereby  reducing  the  num- 
ber of  joints,  which  is  a very  important 
point  gained  for  the  durability  of  the  struc- 
ture. 

Complete  plans  and  specifications  should 
be  prepared  embodying  everything  that  can 
be  devised  to  produce  a structure  as  nearly 
permanent  as  possible. 

The  cemetery  authorities,  after  passing 
and  accepting  the  plans,  must  see  that 
every  provision  made  by  the  designer  will 
be  faithfully  carried  out. 

When  this  is  all  done  and  the  structure 
built  according  to  requirements  set  forth 
and  all  precautions  have  been  taken  to 
erect  a good,  substantial  building,  we  are 
still  confronted  with  the  fact  that  it  will 
not  stand  forever  without  some  provisions 
for  its  preservation  and  care. 

No  matter  what  the  initial  cost  is  and 
no  matter  how  well  the  building  is  -con- 


structed, all  this  will  not  be  proof  against 
or  defy  the  constant  and  powerful  natural 
forces,  which  work  toward  dilapidation  and 
decay. 

Some  plan  must  be  devised  to  guard 
against  the  decay,  or  at  least  counteract  the 
same  and  retard  it  as  long  as  possible. 

It  is  difficult  to  conceive  that  a desire, 
which  has  prompted  the  erection  of  a mau- 
soleum at  considerable  expense,  should  not 
bring  with  it  also  the  desire  to  make  pro- 
visions that  the  structure  will  be  cared  for, 
protected  and  preserved. 

This  may  be  accounted  for  partially  by 
the  slowness  with  which  cemeteries  have 
realized  the  importance  of  the  matter,  cou- 
pled with  the  fact  that  the  owners  were 
led  to  believe  that  no  provisions  for  care 
would  be  required,  that  the  structure  would 
stand  for  ages  without  further  care.  This, 
we  know,  is  absurd. 

Viewing  the  question  from  all  sides  and 
in  a broad  sense  we  must  agree  that  ceme- 
teries cannot  afford  to  allow  mausoleums 
built  and  let  them  become  burdens  in  later 
years  for  the  want  of  money  to  keep  them 
in  repair. 

Their  only  recourse  is  in  rigid  rules  gov- 
erning the  erection  of  the  buildings  and 
then  making  it  compulsory  that  every  build- 
ing be  endowed  sufficiently  to  keep  up  the 
repairs.  If  this  is  not  done  and  it  is  left 
discretionary  with  owners  or  their  heirs  to 
provide  funds  voluntarily  the  cemetery  will 
have  to  expect  burdens  and  complications 
of  an  unpleasant  nature  on  their  hands  in 
the  future. 

There  is  no  reason  in  my  mind  why  leg- 
islative aid  and  support  could  not  be  ob- 
tained to  enforce  proper  rules  pertaining 
to  the  question  of  future  care  of  mauso- 
leums, especially  if  the  state  health  au- 
thorities are  informed  what  conditions 
might  be  expected  from  uncared  for  mau- 
soleums in  the  course  of  time. 

The  question  of  what  items  should  be 
covered  by  permanent  care  and  the  method 
of  arriving  at  the  required  amount  of 
money  necessary  for  that  purpose  cannot 
be  separated. 

No  set  rule  or  schedule  of  rates  can 
possibly  be  figured  out  that  would  be  suit- 
able for  all  cases ; climatic  conditions,  ma- 
terials, methods  of  construction  must  be 
considered,  when  calculations  are  made  for 
the  cost  of  care. 

Probably  the  wisest  and  most  equitable 
plan  for  both  owner  and  cemetery  is  the 
one  under  which  a contract  is  made  suit- 
able to  the  existing  conditions  of  each 


76 


MONUMENT  DEALER’S  MANUAL 


case.  This  contract  will  specify  what  re- 
sponsibilities the  cemetery  assumes,  it  will 
set  forth  what  work  is  to  be  performed  and 
how  much  each  item  of  work  will  cost. 
The  cost  is  based  upon  a carefully  pre- 
pared estimate,  the  items  of  which  will  be 
enumerated  separately  in  the  contract. 

The  amount  resulting  from  this  esti- 
mate, capitalized  at  three  per  cent,  will  pro- 
duce the  Repair  or  Care  Fund  required. 
The  cemetery  should  be  entitled  to  a small 
percentage  for  making  the  proper  invest- 
ments and  that,  too,  must  be  taken  into 
consideration. 

Among  the  essential  and  most  vital  items 
to  be  covered  by  care  are  an  annual  clean- 
ing of  the  building  and  a thorough  in- 
spection and  repair  of  all  joints  on  the 
exterior  as  well  as  on  the  interior.  The 
life  time  of  a structure  depends  mainly 
on  the  precaution  of  keeping  all  joints  in 
good  condition. 

Provision  should  also  be  made  for  fre- 
quent janitor  service  involving  sweeping 
and  dusting,  wiping  the  interior  and  regu- 
lating the  opening  and  closing  of  ventila- 
tor, etc. 

If  mosaic  interiors  are  present  they  need 
special  examination  after  every  winter, 
loose  pieces  must  be  reset,  etc.  Glass  in 
windows  and  doors  may  become  broken  in 
various  ways.  Provisions  should  be  made 
for  repairs,  breakage,  etc. 

Bronze  work,  such  as  doors,  grilles,  han- 


dles, hangers,  rosettes,  etc.,  must  also  be 
remembered  in  the  estimate. 

If  for  any  reason  the  income  from  the 
fund  is  not  all  needed  to  do  the  required 
work  any  one  year,  the  balance  can  be 
added  to  the  capital  so  that,  if  in  the  fu- 
ture extraordinary  expenditures  might  be- 
come necessary,  there  will  be  funds  on 
hand  to  take  care  of  them. 

In  conclusion,  I desire  to  say  that  per- 
sonally I am  opposed  to  laying  the  dead  on 
shelves,,  either  in  private  or  public  mauso- 
leums, in  the  present  day  accepted  manner, 
which  is  devoid  of  all  precautions  in  a 
sanitary  way. 

Earth  burial  or  preferably  cremation  are 
decidedly  better. 

Mausoleums,  however,  have  come  to 
stay,  because  the  wealthy  want  them,  and 
it  remains  for  cemeteries  to  protect  them- 
selves against  future  legacies,  which  will 
become  heavy  burdens  unless  care  funds 
are  established. 

Statutes  in  all  states  provide  that  ceme- 
teries must  make  provisions  for  the  per- 
manent care  of  their  lots;  why  not  invoke 
the  aid  of  legislature  also  to  compel  ceme- 
teries to  formulate  and  enforce  rules  mak- 
ing it  compulsory  to  endow  all  mauso- 
leums ? 

With  that  accomplished  it  will  be  com- 
paratively easy  for  each  cemetery  to  work 
out  a plan  best  suited  for  its  conditions. 


MAUSOLEUM  CONSTRUCTION  AND  ENDOWMENT. 

By  Charles  G.  Blake. 


Referring  to  the  discussion  on  mauso- 
leums at  the  cemetery  superintendents’ 
convention,  it  is  said  : 

“The  frequency  and  costliness  of  repairs 
even  with  the  higher  and  expensive  type. 
. . . It  is  needless  to  speak  of  the  low 
priced  buildings  on  which,  in  most  cases, 
the  construction  and  material  employed, 
far  too  often  make  early  failure  certain.’’ 
The  inference  here  is  that  because  so 
many  expensive  buildings  have  not  been 
durably  constructed,  the  less  expensive 
buildings  would  necessarily  be  more  sus- 
ceptible to  deterioration.  On  the  face  of 
it,  this  seems  good  logic,  but  it  is  the  old 
story  of  not  having  all  the  facts. 

My  experience  has  shown  me  that  these 
expensive  mausoleums,  which  have  required 
expensive  repairs,  have  been  built  from 
architects’  plans.  Mausoleum  designing  by 


architects  is  a mere  incident  in  their  ex- 
periences. They  are  accustomed  to  build- 
ing buildings  having  constant  personal  at- 
tention by  janitors  or  others,  and  these 
buildings  are  heated  in  cold  weather. 

So  when  they  attack  the  mausoleum  prob- 
lem they  do  not  construct  them  on  the 
lines  requiring  the  minimum  of  attention 
to  enable  them  to  withstand  the  effects  of 
the  elements. 

The  walls  and  foundations  of  Greek 
temples,  though  built  of  comparatively  in- 
ferior material  as  to  durability,  are  stand- 
ing today,  except,  first  as  to  damage  done 
deliberately  by  man,  and,  second,  as  to 
their  roofs.  The  buildings  were  too  large 
to  make  the  roofs  in  large  pieces,  and  they 
built  them  of  small  pieces. 

These  expensive  mausoleums  to  which 
the  superintendent  doubtless  refers  as  re- 


MONUMENT  DEALER’S  MANUAL 


77 


quiring  rebuilding  have  the  same  defect, 
viz.:  the  pieces  in  the  roof  are  so  jointed 
that  it  is  a weak  part  of  the  structure, 
just  as  the  roofs  of  the  Greek  temples  , 
were  their  weakest  spot. 

Buildings  built  on  the  lines  of  such  mau- 
soleums as  the  Gary  in  Wheaton,  111.; 
Tenny  at  Methuen,  Mass.;  Ziegler  at 
Woodlawn,  New  York,  and  the  Brand  at 
Chicago,  will  stand  because  they  are  built 
of  good  granite  and  the  roofs  are  so  con- 
structed that  instead  of  being  the  weaker 
part  of  the  building,  they  are  the  strongest 
part  of  the  building,  binding  the  walls  to- 
gether instead  of  being  merely  supported 
by  the  walls.  Inexpensive  vaults  are  built 
on  the  identical  durable  construction  that 
these  vaults  are  built  on,  so  that  it  does 
not  follow  at  all,  because  certain  very  ex- 
pensive mausoleums  have  required  a great 
deal  of  repairs,  that  less  expensive  mauso- 
leums will  be  less  durable.  It  is  the  con- 
struction and  material  which  counts,  re- 
gardless whether  it  is  a low  priced  or  an 
expensive  mausoleum. 

Good  architects  naturally  design  beauti- 
ful designs  architecturally,  and  many  times 
their  desire  for  variety  and  for  an  elab- 
orate design  leads  them  to  put  up  build- 
ings which  have  architectural  merit  only 
and  not  durable  structural  merit. 

The  desire  not  to  be  buried  in  the  ground 
is  inborn ; even  Indians  frequently  placed 
their  dead  in  tree  tops,  and  that  feeling 
will  always  be  with  us. 

Therefore,  instead  of  combating  it  gen- 
erally, the  cemeteries  and  dealers  should 
co-operate  in  having  them  built  rightly. 

In  reference  to  Mr.  Eurich’s  address  on 
‘‘Endowment  for  Mausoleums,”  I will  ad- 
vance just  a few  comments. 

I agree  with  him  that  cement,  beyond  a 
question,  has  not  been  satisfactory  for  a 
family  mausoleum. 

I agree  with  him  that  closer  scrutiny 
should  be  given  mausoleum  plans,  because 
so  many  of  them  in  years  past  have  been 
put  up  improperly  constructed. 

I agree  with  him  that  roofs  should  be  in 
large  pieces,  with  a minimum  of  joints.  I 
do  not  think,  however,  that  it  makes  much 
difference  on  the  side  walls  except  that  the 
more  joints  the  longer  it  will  take  to  re- 
point the  building  when  it  becomes  neces- 
sary. 

If  the  joints  are  thoroughly  grouted  to 
start  with,  the  only  extra  expense  of  hav- 
ing more  joints,  would  be  the  cost  of  re- 
pointing, which  would  be  a comparatively 
small  item  with  the  man  on  the  job. 


Sometimes  more  joints  make  a better- 
looking building,  as  they  preserve  the  scale 
of  the  building  better,  speaking  architec- 
turally. 

It  is,  then,  a question  of  whether  one 
desires  such  a design  to  have  a better  ar- 
chitectural effect,  or  save  additional  ex- 
pense of  pointing. 

Small  stones  are  only  necessary  in  some 
designs;  in  the  majority  of  designs  large 
stones  are  best,  any  way  one  looks  at  it, 
except,  perhaps,  the  limited  expense  on 
over-size  stones. 

Marble  lining,  if  properly  wired,  wires 
being  babbitted  into  the  granite,  can  be 
made  so  it  will  be  durable,  but  as  Mr. 
Eurich  intimates,  granite  on  the  interior  is 
far  superior. 

Many  of  the  small  mausoleums  are  built 
without  slate  lining  at  the  backs  of  the 
crypts,  the  shelves  being  only  supported 
with  metal  pins  led  into  the  granite  wall. 
We  have  not  built  one  in  this  way  in  twen- 
ty years,  believing,  as  we  do,  that  a parti- 
tion between  the  crypts  and  main  wall  is 
absolutely  essential. 

I agree  with  Mr.  Eurich  that  dead  air 
spaces,  advocated  by  some,  are  wrong,  but 
on  the  other  hand,  I think  Mr.  Eurich  is 
mistaken  in  going  to  the  other  extreme  of 
large  air  spaces. 

His  theory  is,  the  larger  the  air  space 
the  less  condensation  will  appear. 

Condensation  is  caused  by  warm  air 
striking  a cold  surface,  the  moisture  in  the 
atmosphere  immediately  attaching  itself  to 
the  surface. 

Open  a mausoleum  suddenly  on  a warm 
day,  step  inside  and  observe  at  once  the 
condition  of  the  interior,  and  it  will  be 
found  to  be  dry.  Look  at  it  a minute  or 
two  later,  and  it  will  be  found  covered 
with  moisture,  caused  by  the  large  volume 
of  warm  air  coming  in. 

If  the  opening  be  small,  the  air  changes 
gradually  and  causes  comparatively  little 
condensation. 

In  our  opinion,  the  ventilator  opening 
should  not  be  large,  merely  enough  to 
create  a gentle,  continuous  flow  of  air  be- 
tween the  lining  and  main  wall. 

As  to  crypts,  there  is  a difference  of 
opinions,  but  I hold  the  theory  that  crypts 
themselves  should  not  be  ventilated  at  alb 
but  should  be  sealed  tight. 

Mr.  Eurich  makes  two  points  which  are 
interesting,  and  I shall  take  pleasure  in 
giving  them  further  study,  namely: 

First : His  theory  there  should  be  more 


78 


MONUMENT  DEALER’S  MANUAL 


ventilation  in  the  upper  part  of  the  build- 
ing than  in  the  lower. 

Second:  His  adjustable  shutter  theory. 

Off-hand,  the  first  one  does  not  strike 
me  as  being  right,  for  the  reason  that  the 
air  outside  is  usually  warmer  than  air  in- 
side, as  it  enters  through  the  upper  venti- 
lator it  simply  passes  from  that  side  and 
goes  out  the  upper  ventilator  on  the  other 
side,  whereas,  if  the  warm  air  enters  the 
lower  ventilator,  it  will  naturally  go  up- 
wards to  the  upper  outlet. 

Mr.  Eurich’s  main  point  made,  “Endow- 
ment’’ is  beyond  argument  and  a very  de- 
sirable and  proper  idea. 

In  conclusion,  I respectfully  suggest  that 


there  should  be  less  antagonism  toward 
mausoleums  on  the  part  of  cemeteries  with 
an  increased  antagonism  toward  improp- 
erly constructed  mausoleums. 

Antipathy  to  burial  in  the  ground  is 
widespread,  but  most  of  us  have  to  forget 
that  feeling  and  be  satisfied  with  six  feet 
of  Mother  Earth.  There  are  many  thou- 
sands who  do  not  have  to.  be  so  satisfied 
and  will  demand  it. 

Therefore,  it  is  up  to  the  cemetery  au- 
thorities and  mausoleum  builders,  in  the 
interest  and  uplifting  of  their  life’s  work, 
tb  see  that  every  reasonable  precaution  is 
taken  to  make  them  durable. 


VENTILATION  AND  CONSTRUCTION  OF  MAUSOLEUMS. 

( Discussion  at  Cemetery  Superintendents'  Convention.) 


James  Currie,  Milwaukee : Mr.  Eurich 
has  just  made  the  remark  that  in  order  to 
overcome  the  evil  effects  of  condensation 
the  remedy  was  ventilation.  There  is  the 
point  I was  to  direct  your  attention  to,  and 
I will  relate  a little  of  our  own  experience 
in  that  line. 

A few  years  ago  a mausoleum  was 
erected  in  Forest  Home  Cemetery  at  a 
cost  of  approximately  $25,000.  The  archi- 
tects, a leading  New  York  firm,  held  them- 
selves responsible  to  the  owners  of  the 
mausoleum  here  for  its  durability  for  a 
certain  number  of  years — in  fact,  it  was 
indefinite.  Within  four  years  from  the 
time  of  the  construction  of  that  building  a 
large  part  of  the  mosaic  had  fallen  from 
the  ceiling ; the  rough  stone,  some  weigh- 
ing over  20  tons,  had  moved  over  an  inch 
horizontally.  It  was  not  difficult  to  de- 
termine the  cause.  Condensation  had  done 
the  damage.  We  watched  that  very  care- 
fully when  the  conditions  were  favorable 
for  condensation,  which,  as  those  of  you 
who  live  around  the  Great  Lakes  know,  is 
quite  frequent  during  summer  as  well  as 
winter.  We  watched  the  conditions  there, 
and  I am  not  exaggerating  when  I sa:y  that 
at  times  the  interior  of  that  mausoleum 
by  reason  of  the  ventilation  was  just  as 
wet  as  you  could  possibly  make  it  with  a 
hose.  At  other  times  it  was  quite  dry.. 
Now  you  see  the  theory  and  it  is  well 
understood. 

During  the  winter  in  Milwaukee  and 
along  this  shore  of  the  lake  and  all  our 


lakes,  particularly  on  this  side  of  the  lake, 
when  we  have  a sudden  rise  of  tempera- 
ture, which  we  frequently  have,  carrying 
with  it  considerable  humidity,  and  the 
temperature  of  the  structure  outside  and 
in  is  down  to  freezing  or  perhaps  the  zero 
point,  it  is  simply  a question  then  of  the 
warm  moist  air  condensing  on  the  surfaces. 
Now,  can  you  keep  it  on  the  surface?  You 
can  to  a certain  extent.  But  if  you  pro- 
vide ventilators  you  simply  allow  it  to  pass 
into  the  air  spaces,  and  instead  of  the  mois- 
ture penetrating  from  the  exterior  sur- 
faces, you  will  have  it  penetrating  the  joints 
and  surfaces  from  both  the  exterior  and 
interior  surfaces  of  your  air  spaces.  So 
that  you  will  have  the  evil  at  work  from 
both  sides.  The  joint  absorbs  the  mois- 
ture. It  is  then  followed  by  more  or  less 
severe  frosts,  expansion  takes  place,  and 
there  is  a little  displacement;  only  a little 
perhaps  at  first,  but  that  little,  if  it  is  no 
more  than  a mere  hair,  becomes  a pencil 
mark,  and  then  it  is  only  a question  of 
time  until  it  is  widened  to  any  extent — as  I 
said  in  the  case  referred  to,  one  inch  within 
three  or  four  years. 

That  was  the  condition  of  affairs.  The 
question  then  was  how  to  remedy  the  mat- 
ter. The  condition  showed  itself.  There 
was  the  problem;  what  was  the  remedy? 

The  architects  were  notified,  and  they 
placed  the  matter  in  the  hands  of  D.  H. 
Burnham  & Company  of  Chicago ; and  you 
all  known  that  Burnham  & Company  stand 
perhaps  the  highest  today  among  the  archi- 


MONUMENT  DEALER’S  MANUAL 


79 


tects  and  engineers  in  the  United  States. 

Burnham  & Company  viewed  the  situa- 
tion; they  recommended  more  ventilation. 
We  took  exception.  The  owners  of  the 
building  admitted  that  they  believed  we 
were  right.  It  seemed  reasonable.  Ex- 
perts were  employed  by  Burnham  & Com- 
pany because  we  had  taken  the  position  we 
did,  and  at  last  to  settle  the  matter  the 
suggestion  was  made  that  we  allow  Burn- 
ham & Company,  or  at  least  the  other  ar- 
chitects through  them,  to  reconstruct  that 
mausoleum  in  any  way  they  thought  best 
— under  protest.  It  was  done,  and  they 
provided  as  much  more  ventilation  as  they 
could.  They  put  in  a great  deal  of  money, 
and  when  they  got  through  they  had  no 
more  than  finished  that  work  along  in 
December  when  we  had  a condition  such 
as  I have  described.  The  man  who  was 
willing  to  bet  with  me  any  amount  of 
money  that  his  plan  was  going  to  remedy 
the  whole  evil,  telephoned  me  in  the  morn- 
ing to  say : “Mr.  Currie,  you  are  right.” 

I replied,  “About  what?”  He  said:  “This 
place  is  dripping  wet  this  morning.” 
“Well,”  I said,  “I  knew  it  would  be.” 

The  architect  took  the  matter  up  in  per- 
son. He  wrote  asking  for  conditions,  and 
he  immediately,  in  a very  courteous  letter, 
wrote  us  that  the  position  we  took  was 
right,  and  said  that  he  had  given  orders 
to  shut  off  all  ventilation  as  far  as  pos- 
sible. 

I have  occupied  your  time  in  consider- 
able length  in  reciting  one  of  our  experi- 
ences. If  any  one  of  you  who  have  op- 
portunity will  observe  conditions  when  the 
weather  is  right  (though  you  will  not  find 
it  happen  every  day)  you  will  readily  de- 
tect the  moisture,  and  with  a little  experi- 
ence you  can  tell  just  when  to  look  for 
that  condition. 

You  will  find  if  a building  of  that  nature 
is  constructed  without  ventilation,  and  you 
depend  simply  on  opening  the  doors  on 
favorable  days  to  air  the  building  out,  you 
will  keep  the  air  pure  and  there  will  be  no 
occasion  for  any  further  ventilation.  In 
fact,  you  find  nothing  except  that  little 
stuffy  feeling  that  could  easily  be  reme- 
died by  opening  the  door  once  in  a while. 
But  on  a favorable  day  open  the  door 
of  any  one  of  those  mausoleums  when  you 
go  in,  and  observe  the  interior  finish,  you 
will  find  it  to  be  perfectly  dry  if  it  is 
porous,  and  if  it  is  marble  or  granite  or 
any  surface  of  that  nature  you  will  observe 
it  is  quite  dry.  Then  in  10  or  20  minutes 
you  will  begin  to  notice  moisture.  Leave 


the  door  open  long  enough  and  you  will 
see  the  water  trickling  down  the  wall.  That 
speaks  for  itself. 

Now,  since  we  must  apparently  have  a 
certain  number  at  least  of  those  buildings, 
as  Mr.  Eurich  has  suggested,  we  should 
provide  as  few  joints  as  possible,  because 
it  is  not  in  the  material  itself  that  the  trou- 
ble arises,  but  in  the  joints.  There  is  not 
a single  building  in  Forest  Home  that  has 
not  given  away  more  or  less.  The  build- 
ers of  the  latest  one  pointed  to  it  with  some 
pride,  and  when  I was  objecting  quite  ear- 
nestly to  a prospective  purchaser,  they 
said  : “Mr.  Currie,  we  know  you  will  not 

find  any  of  those  conditions  present  in  the 
vault  which  we  constructed  about  three 
years  ago.”  I said,  “I  have  not  looked  par- 
ticularly, but  let  us  see.”  We  went  around 
there  and  found  that  the  roof  stone  had 
moved  about  half  an  inch,  and  down  at  the 
base  there  were  cracks  that  I could  almost 
place  a card  in,  which  had  already  started. 
There  was  no  further  argument.  It  is  only 
a question  of  time  when  that  building  will 
go  to  pieces  and  have  to  be  rebuilt.  One 
remedy  is  to  repoint  from  time  to  time,  and 
very  frequently  see  that  none  of  those 
cracks  appear ; if  they  do,  close  them. 

Mr.  Carter : I would  like  to  ask  Mr.  Cur- 
rie if  this  ventilation  he  speaks  of  extends 
into  the  corridor  of  the  building,  or  into 
the  crypts,  or  merely  between  the  walls 
and  the  crypts? 

Mr.  Currie  : In  the  case  that  I spoke  of 
in  particular,  the  ventilation  provides  for 
extensions  into  the  corridor  and  into  the 
air  spaces,  because  the  air  spaces,  I be- 
lieve, ought  to  be  provided,  but  it  should 
be  dead  air  spaces — into  the  spaces  over 
the  ceiling  and  in  the  walls  and  about  the 
floor.  The  air  was  taken  from  the  outside, 
as  described  by  Mr.  Eurich,  and  proper 
means  followed  to  let  it  pass  out  under 
the  eaves,  making,  as  was  supposed,  a cir- 
culation. 

Mr.  Carter : In  the  remedy  applied  after- 
wards were  the  ventilators  entirely 
closed? 

A.  Why,  by  it  the  ventilation  was  cut 
off.  The  ventilation  was  provided  along  in 
the  frieze,  through  rosettes.  I do  not  re- 
member the  number,  but  a large  number ; 
and  in  order  that  this  air  when  taken  from 
the  interior  of  the  building  should  pass  di- 
rectly into  the  atmosphere,  copper  tubes 
were  provided  to  each  opening.  Some  one 
remarked,  while  the  structure  was  be- 
ing rebuilt,  “This  looks  like  a distillery.” 
Every  bit  of  ventilation  was  carried  to  the 


80 


MONUMENT  DEALER’S  MANUAL 


apex,  and  carried  out  there  by  a ventilator; 
we  shut  off  all  we  could ; there  is  still  a 
little  ventilation  in  the  door  that  could  not 
be  cut  off. 

Q.  You  did  not  state  what  the  result  of 
this  was,  what  the  outcome  of  closing  the 
ventilators  was.  Was  it  an  improvement? 

A.  It  reduced  the  condensation  very  con- 
siderably in  the  case  referred  to,  and  in 
other  cases  where  no  ventilation  is  provid- 
ed, and  where  the  crypts  are  hermetically 
sealed,  we  have  no  condensation  at  any 
time  if  the  door  is  kept  closed. 

Q.  Why  were  not  all  ventilators  closed 
if  it  was  an  improvement? 

They  closed  all  they  could ; but  the  door 
was  made  with  a grill  in  the  panel  and 
they  screwed  a plate  on  the  surface  of 
that,  and  it  is  not  quite  tight ; nor  is  the 
door  quite  tight,  being  of  bronze;  but 
where  we  have  a snugly-fitting  door  we 
have  no  trouble. 

Q.  It  is  your  opinion  that  if  these 
openings  are  closed,  and  these  small  places 
closed  up,  the  remedy  would  be  complete? 

A.  It  is  my  opinion  if  all  ventilation 
was  cut  off,  and  it  was  possible  to  cut  it 
off  entirely,  so  that  there  would  be  no 
change  of  air  during  certain  conditions  of 
the  weather,  we  would  have  no  condensa- 
tion of  the  interior  of  the  building  or  the 
air  spaces. 

Q.  The  defects  that  you  refer  to  were 
entirely,  in  the  roof? 

A.  No,  the  roof  and  the  side  walls,  the 
entire  structure  was  affected. 

Q.  The  mosaic  also  came  down  by  the 
side  walls? 

A.  Yes,  that  was  caused  by  the  dripping 
of  the  moisture  or  water  from  the  roof 
stones  where  the  condensation  took  place, 
falling  onto  the  mosaic  work,  being  frozen 
into  the  material  and  forcing  the  mosaic 
off. 

Q.  How  large  a building  was  this? 

A.  Approximately  22x22 — I am  guessing 
at  it. 

Q.  What  type  of  roof? 

A.  The  roof  was  on  the  horizontal  plan, 
if  you  understand  what  I mean  by  that. 
Instead  of  being  a hip  or  slanting  roof, 
the  stones  by  reason  of  the  size  of  the 
structure,  had  to  be  in  a number  of  pieces. 
Vertical  joints  were  avoided  as  much  as 
possible.  The  original  plan  was  modified, 
doing  away  with  the  ordinary  roof  con- 
struction, and  the  horizontal  plan  adopted, 
each  stone  lying  on  its  bed,  so  that  there 
was  no  lateral  pressure  on  the  building. 


Q.  And  about  how  many  stones  approx- 
imately were  there  in  the  roof? 

A.  I could  not  say — I suppose  about  a 
dozen  pieces,  perhaps. 

Q.  And  the  number  of  vertical  joints? 

A.  There  were  a few  vertical  joints, 
yes ; but  observe  the  point  I make  there, 
and  which  made  the  greatest  impression 
on  those  who  studied  this  particular  prob- 
lem ; these  stones,  not  fey  reason  of  their 
own  weight,  because  they  rested  in  a hori- 
zontal position  on.  the  walls,  but  by  rea- 
son of  the  expansion  of  the  ice,  were  forced 
out  laterally  until  the  vertical  joints  were 
an  inch  in  some  places  and  even  a little 
more  out  of  place.  Those  stones  weigh- 
ing 20  tons  were  forced  laterally  by  no 
other  force ; there  was  no  other  force 
present  than  just  the  ice,  which  was  caused 
by  condensation. 

Q.  The  information  you  have  given  us 
is  based  entirely  on  your  experience  with 
this  one  building? 

A.  No,  it  is  not;  but  I do  not  want  to 
weary  you  with  the  discussion  of  the  whole 
question  as  it  relates  to  my  own  experi- 
ence. My  experience  is  that  this  condi- 
tion is  present  in  every  cemetery  that  I 
have  observed.  In  some  cases  where  I was 
told  that  they  had  no  condensation,  I found 
it  present.  For  instance,  in  a cemetery  not 
100  miles  from  Chicago,  where  Burnham 
& Company  invited  me  to  visit  them,  1 
would  find  them  quite  dry  under  those 
conditions.  I was  prepared  to  say  to 
Burnham’s  representative  that  I had  al- 
ready examined  these  mausoleums  and 
found  that  condition,  because  I had  been 
studying  the  question  for  some  years. 

When  I was  studying  this  question  of 
vault  and  mausoleum  construction  I visited 
several  cities  in  the  United  States,  to  make 
inquiries,  and  see,  as  far  as  I could,  for 
myself,  the  conditions  existing.  Among  the 
cemeteries  visited  was  Greenwood  Ceme-. 
tery;  Mr.  Wells  was  then  the  superintend- 
ent. I stated  the  purpose  of  my  visit. 
I had  met  him  before  and  he  was  always 
very  courteous  to  me ; but  he  took  particu- 
lar pains  on  that  visit  to  show  me  the 
several  vaults  and  mausoleums  that  had 
been  affected  in  almost  the  way  that  I de- 
scribed. I asked  Mr.  Wells  what,  in  his 
opinion,  was  the  weakest  point  in  mau- 
soleum construction,  and  his  answer  was, 
roof.  As  we  drove  around  he  pointed  out 
one  roof  which  had  been  set  in  his  time 
in  Greenwood  Cemetery,  once ; another, 
twice;  and  another,  three  times.  Why? 


MONUMENT  DEALER’S  MANUAL 


For  the  same  cause.  Some  of  it  was  due, 
of  course,  to  the  rain  getting  in,  and  the 
condition  is  aggravated  as  soon  as  your 
joints  are  open  enough  to  allow  the  rain 
to  get  in.  But  that  does  not  affect  other 
parts  of  the  structure  where  the  joints  are 
all  horizontal  and  are  affected  in  the  same 
way.  I will  not  say  anything  more  about 
Greenwood,  because  Mr.  Grassau  can  tell 
his  experience;  but  that  is  what  I found 
in  my  visit  to  Greenwood,  and  all  through 
during  a period  of  30  years  and  more  I 
had  such  an  experience  as  I have  described. 
Ours  was  perhaps  an  aggravated  case ; it 
was  perhaps  on  what  you  might  term  an 
aggravated  scale.  But  it  showed  what  de- 
struction could  be  wrought  in  such  a short 
time,  due,  in  the  initial  process,  at  least, 
in  the  first  stages  of  disintegration,  to  con- 
densation. 

Gentlemen,  I want  to  say  you  cannot  get 
away  from  it  unless  you  heat  your  build- 
ing. During  the  course  of  an  argument 
on  this  subject  the  statement  was  made: 
There  is  such  a building  in  Egypt,  and 
another  one  in  Persia,  and  another  in 
Greece,  etc.,  that  have  stood  the  test  of 
thousands  of  years.  That  is  true.  I will 
point  to  one  familiar  example,  the  obelisk 
in  New  York  and  its  replica  in  London. 
These  needles  stood  for  thousands  of  years 
on  the  banks  of  the  Nile,  without  apparent 
disintegration.  How  long  did  the  obelisk 
stand  in  New  York  before  it  began  to  go 
to  pieces  and  had  to  be  treated?  It  is  still 
going  to  pieces,  and  if  the  structure  had  not 
been  waterproofed  at  great  expense,  the 
exterior  would  have  been  destroyed  and 
the  hieroglyphics  obliterated.  In  1884  I 
visited  the  obelisk  in  New  York,  and  that 
same  year,  a few  weeks  later,  the  one  on 
the  banks  of  the  Thames  in  London.  I 
made  inquiry  and  found  that  the  two  obe- 
lisks were  practically  the  same  when  moved 
from  the  Nile  to  New  York  and  London. 
But  the  one  in  London  was  in  much  better 
condition  than  the  one  in  New  York.  And 
why?  Because  of  the  severity  of  our  cli- 
mate, the  moisture  of  the  frost,  which  we 
have  to  contend  with. 

All  we  can  do  then  is  to  make  our  build- 
ings as  near  indestructible  as  possible,  tak- 
ing care  that  the  plans  provide  for  the  very 
best  construction.  A building  of  this  kind 
may  be  erected  with  some  degree  of  care- 
lessness as  to  the  number  of  stones  used 
and  the  manner  in  which  they  are  laid; 
but  a structure  which  never  will  be  heat- 
ed, subject  to  the  conditions  I have  de- 
scribed, will  go  to  pieces  in  a much  shorter 


81 

time  than  a building  which  is  occupied  and 
heated. 

W.  C.  Grassau : There  is  no  doubt  con- 
densation immediately  starts  to  work  havoc 
with  the  building.  That  has  been  demon- 
strated in  Greenwood  dating  back  to  1845. 

I also  agree  with  Mr.  Currie  and  must 
take  exception  to  Mr.  Eurich’s  position  on 
the  subject  of  ventilation.  We  have  plans 
submitted  quite  frequently  by  the  same 
firm,  and  they  show  great  ability,  so-called, 
in  specifications,  and  I will  make  this 
statement,  that  in  twenty  years’  experience 
I have  yet  to  find  an  architect  who  can  pre- 
pare off-hand  a plan  for  a mausoleum.  I 
can  include  in  that  category  the  greatest 
architects  who  have  submitted  plans  to 
Greenwood  which  I have  had  to  correct. 

I do  not  agree  with  Mr.  Eurich  on  the 
subject  of  ventilation,  because  we  have  had 
a great  many  so-called  ventilating  experts, 
who  have  received  patents  from  the  patent 
office,  on  very  beautiful  and  complicated 
systems  of  ventilation  which  in  practice 
have  proven  unsatisfactory.  I do  not  think 
I need  to  mention  the  names,  because  they 
are  advertised  sufficiently;  but  I feel  jus- 
tified in  asserting  that  no  cemetery  shows 
good  results  from  any  of  these  systems. 
My  observation  leads  me  to  conclude  that 
Mr.  Currie’s  contention  in  this  respect  is 
correct. 

Another  objection  applies  to  the  sub- 
ject of  ventilation  in  New  York,  at  least 
(I  do  not  know  what  the  laws  of  Wis- 
consin and  Michigan  are  in  this  respect), 
and  that  is  that  the  Board  of  Health  will 
not  permit  us  to  ventilate  in  accordance 
with  the  ideas  of  some  of  our  best  men. 
Everything  must  be  hermetically  sealed 
under  the  law  of  the  Board  of  Health. 

I am  not  in  favor  of  air  spaces,  either. 
1 have  often  stated  that  this  alluring  sys- 
tem of  ventilation  by  means  of  drain  tiles  is 
fine  in  theory,  but  of  little  value  in  prac- 
tice. This  has  been  proven,  I think,  many 
times  in  Greenwood. 

The  subject  of  roof  construction,  caus- 
ing this  movement  that  Mr.  Currie  has  re- 
ferred to,  might  have  been  originally  start- 
ed by  interior  condensation ; but  I do  not 
think  so,  because  the  condensation  will  go 
down,  not  up.  The  trouble  there  is  in  the 
open  joint,  that  you  cannot  close  up  unless 
you  lap  it. 

Mausoleums  constructed  by  a number  of 
concerns  I have  watched  for  fifteen  years 
and  have  not  seen  them  move  a fraction 
of  an  inch ; the  roofs  stand  and  are  stand- 
ing today  without  having  been  even  re- 


82 


MONUMENT  DEALER’S  MANUAL 


pointed.  The  interior  stands  today,  and 
in  most  cases  the  system  of  ventilation  has 
been  almost  absolutely  disregarded.  They 
put  a little  bronze  plate  on  each  side  near 
the  top  of  a so-called  air  space  of  about 
an  inch,  and  when  they  set  the  marble  up 
and  the  plaster  is  behind  it,  the  air  space 
is  blocked  up  so  there  is  practically  no  flow 
of  air  through  it,  and  it  is  perfectly  dry. 

Mr.  Eurich : We  have,  of  course,  build- 
ings that  are  not  over  12  to  14  years  old, 
and  among  them  is  one  building  that  is 
thoroughly  ventilated. 

Mr.  Grassau  made  a goopl  point  when  he 
said  that  the  little  air  spaces  that  are  usually 
provided  by  the  ordinary  builders  are  so 
small  that  they  are  almost  choked  up ; so 
that  in  reality  there  is  no  air  space,  and 
and  in  that  way  condensation  cannot  be 
taken  care  of.  And  this  one  building  I 
have  particular  reference  to  was  designed 
by  an  architect  and  not  by  a constructor, 
and  he  and  I got  the  plans  up  together  on 
the  basis  of  having  big  air  spaces.  We 
have  4-inch  air  spaces  between  the  outer 
and  inner  construction.  In  Detroit  the 
temperature  changes  sometimes  rapidly 
from  morning  to  afternoon,  so  that  the 
condensation  will  appear.  I admit  that  in 
my  paper.  It  does  appear.  But  the  same 
air  that  goes  in  that  is  damp  is  fol- 
lowed by  dry  air  which  takes  care  of  the 
condensation. 

I spoke  of  closing  up  the  ventilators  in 
places  where  we  thought  best,  and  we  did 
that  in  our  public  vault,  and  I can  say 
positively  that  the  little  condensation  that 
appeared  on  the  outer  surfaces  was  taken 
care  of  rapidly. 

The  point  made  by  Mr.  Grassau  that  con- 
densation falls  and  does  not  settle,  is  cor- 
rect. 

As  to  the  mosaic  work,  I would  like  to 
ask  Mr.  Currie  how  long  that  mosaic  work 
was  in  that  building? 

Mr.  Currie : Three  or  four  years. 

Mr.  Eurich : I rather  think  myself  that 

probably  the  construction  was  not  of  the 
very  best  character,  and  that  rain  must 
have  entered  into  those  joints  before,  be- 
cause I do  not  think  in  so  short  a time  con- 
densation will  destroy  good  material  and 
good  work. 

I am  not  obstinate  and  that  is  the  reason 
I am  glad  to  see  this  controversy  taken 
up ; but  my  experience  is  that  larger  air 
spaces  are  omitted  because  the  buildings 
cost  so  much,  and  the  men  constructing 
them  are  getting  right  down  to  inches. 
Six  inches  added  to  a building  may  re- 


quire an  additional  expense  of  $1,500.  That 
is  what  cuts  down  the  air  spaces.  I do  not 
see  why  they  cannot  ventilate  a vault,  al- 
though we  have  no  laws  to  that  effect. 

Mr.  Currie:  I would  like  to  ask  Mr. 

Eurich  a question  or  so. 

First:  What  is  the  object  of  ventilation 

or  air  spaces  in  the  building,  into  the 
crypts  or  anywhere  else?  Is  it  really  nec- 
essary that  we  provide  ventilation? 

As  to  the  size  of  the  openings  or  the  air 
spaces,  Mr.  Eurich  contends  that  if  those 
spaces  are  large  enough  we  will  have  no 
condensation,  or  at  least  if  we  have  any, 
the  condensation  will  be  immediately  ab- 
sorbed, so  soon  as  to  do  no  harm,  by  the 
current  of  air  flowing  through  the  building. 
I want  to  state  in  that  connection  from 
our  experience  again  that  we  had  large 
spaces  in  the  structure  I refer.rred  to,  in 
the  irregular  space,  averaging  not  less 
than  4 inches  around  the  wall.  I pointed 
out  to  Burnham  & Company,  of  Chicago, 
this  fact,  which  is  familiar  to  you  all,  that 
along  the  lakes  and  in  places  on  the  sea- 
shore, under  certain  conditions  of  the  at- 
mosphere and  temperature,  at  certain  sea- 
sons of  the  year,  you  will  find  on  the  north 
side  of  any  structure  of  this  nature,  con- 
siderable moisture.  In  our  climate  it  takes 
the  form  of  hoar  frost  in  certain  condi- 
tions ; but  usually  in  the  morning  you  will 
see  the  building  all  wet  on  the  outside  from 
top  to  bottom.  That  building  surely  is 
properly  ventilated ; the  space  around  is 
surely  large  enough  to  absorb  condensation 
as  quickly  as  it  forms ; but  there  it  is.  The 
point  is,  it  does  not  appear  in  the  north, 
south  and  west,  simply  because  the  air 
under  the  influence  of  the  sun  absorbs  that 
moisture  perhaps  as  rapidly  as  it  is  being 
formed,  so  it  does  not  appear — that  is  all. 

Imagine  then  the  interior  space  of  a 
building  instead  of  the  exterior  where  the 
rays  of  the  sun  cannot  affect  the  tempera- 
ture, and  the  probability  is,  and  it  is  safe 
to  assume  from  our  experience,  that  mois- 
ture is  not  absorbed  by  the  air,  but  passes 
into  the  structure  and  the  joints. 

The  question  then  is  this : Has  Mr.  Eur- 
ich observed  those  conditions  in  Detroit, 
and  what  is  the  object  of  ventilation,  and 
would  it  not  be  just  as  well  in  view  of  the 
circumstances  to  cut  it  off?  In  some  sec- 
tions of  the  country  it  makes  no  difference 
unless  you  have  considerable  frost  with  it. 
The  only  effect  will  be  a little  discolora- 
tion, but  it  will  not  disintegrate  the  con- 
struction of  the  building. 

Mr.  Eurich:  The  object  would  be  to 


MONUMENT  DEALER’S  MANUAL 


83 


neutralize  it  as  much  as  possible;  but  as 
we  cannot  have  heat  to  counteract  it,  we 
must  counteract  it  with  currents  of  air, 
and  I am  confident  that  the  building  with 
air  spaces  will  stand  the  ravages  of  time 
better  than  the  one  having  no  air  spaces,  or 
even  dead  air  spaces;  where  you  have  no 
chance  to  neutralize  any  moisture  that  will 
appear.  I am  satisfied  that  with  dead  air 
spaces  we  will  have  condensation  on  the 
interior  any  way. 

Mr.  Allen : I would  like  to  ask  if  any 

cemetery  superintendent  here  has  had  any 
experience  in  regard  to  solid  wall  mauso- 
leums; that  is,  ventilated  mausoleums  with 
walls  built  of  one  solid  stone,  perhaps  18 
feet  long  and  10  or  11  feet  wide — the  whole 
side  of  the  building?  The  interior  where 
it  is  open  is  polished,  and  what  has  been 
the  result  in  regard  to  condensation  in 
cases  of  that  kind? 

Mr.  P.  W.  Goodwin:  We  have  a mauso- 
leum in  our  cemetery  composed  of  two 
stones,  with  no  marble  lining.  The  inside 
of  the  granite  composes  the  inside  finish 
of  the  room ; also  the  outside  granite  com- 
poses the  outside  finish.  There  was  no 
ventilation.  The  crypts  were  all  under- 
neath the  ground  in  catacombs,  with  a 
descending,  winding  stairway.  The  build- 
ing stands  11  feet  above  the  ground  from 
the  inside,  with  a dome  roof.  It  stood 
there  one  winter  and  the  next  spring  it 
commenced  to  show  spots  all  over  the  roof 
and  on  the  sidewalls  and  it  completely 
mildewed  until  it  was  practically  beyond 
repair,  and  today  the  mildew  spots  cannot 
be  entirely  cleaned,  even  by  the  most  mod- 
ern and  experienced  cleaners.  It  kept  get- 
ting worse,  and  after  two  years  they  got 
granite  men  there  and  put  a system  of  ven- 
tilation at  the  top  and  bottom  and  through 


the  doors.  Since  that  time  no  mildew  has 
appeared. 

Mr.  Gossard : I do  not  know  anything 

about  this  mausoleum  business,  but  I want 
to  tell  you  about  one  we  have  in  our  ceme- 
tery. A one-piece  stone  has  been  men- 
tioned. We  have  one  of  that  kind  26  feet 
long  and  13  feet  10  inches  wide.  The 
sides  are  each  of  one  piece;  the  rear  end 
is  of  one  piece ; there  is  a window  in  the 
rear  end,  but  it  is  cut  out  of  solid  granite. 
The  front  is  in  three  pieces,  with  a little 
vestibule  in  front.  Four  columns  each  in 
one  piece  hold  up  the  ceiling  stone.  The 
ceiling  stone  is  in  one  piece  of  the  size 
that  I mentioned.  The  weight  is  35  tons. 
The  ceiling  is  polished,  and  the  interior  is 
of  rough  stone,  probably  12  or  more  inches 
thick.  That  is  lined  with  white  marble 
and  wired  with  copper  wire.  The  floor  is 
in  one  piece. 

There  is  ventilation  between  each  of 
those  stones.  The  floor  is  composed  of 
two  stones,  one  on  top  of  the  other,  Tun- 
ing the  full  length,  that  is,  the  top  stone  is 
in  two  pieces ; but  it  extends  under  the 
front  part;  so  that  the  steps  are  held  in 
place-,  and  the  ventilators  are  6 or  8 inches 
long  and  probably  two  inches  thick,  that  go 
from  side  to  side  between  each  one  of 
these  stones.  The  roof  is  in  three  pieces. 
There'  are  two  pieces  at  the  lower  part 
and  a flange  cut  on  the  upper  part,  so  that 
the  joint  is  probably  an  inch  and  a half 
from  where  the  top  stone  sets;  so  that 
there  is  no  joint  exposed,  and  the  end  stone 
is  cut  with  a square  column,  and  it  goes 
in  like  a piece  of  furniture;  the  side  stones 
go  into  that  end  stone. 

We  have  never  found  any  moisture  in 
that  mausoleum  and  no  condensation  at  all. 


TAYNTOR  MAUSOLEUM  ROOF  PATENT  CASE. 


On  the  appeal  from  the  decree  in  equity 
of  the  U.  S.  Circuit  Court  for  the  South- 
ern District  of  New  York,  holding  in- 
valid U.  S.  Letters  Patent  No.  722,392 
granted  to  Chas.  E.  Tayntor,  Mar.  10, 
1903,  for  an  improvement  in  roofs  for 
mausoleums,  Judge  Coxe  after  an  intro- 
duction quotes  the  ruling  of  the  Circuit 
Court  Judge  on  the  original  suit,  which 
was  as  follows : 

In  my  opinion  the  invention  asserted  to 
reside  in  this  patent  (in  so  far  as  this 
suit  is  concerned)  consists  solely  in  so 
cutting  away  the  major  portion  of  the  ex- 


posed surface  of  the  two  side  roof  stones 
as  to  leave  a rib  or  ridge  along  its  upper 
outer  edge  and  then  resting  the  capstone 
lips  upon  said  ridges  or  ribs  instead  of 
upon  the  plane  surface  of  the  roof  stones. 

This  construction  elevates  the  exposed 
line  of  joinder  between  capstone  and  roof 
stones  above  the  general  level  of  the  slop- 
ing roof  just  as  much  as  the  roof  stones 
are  cut  away  to  form  said  ribs  or  ridges : 
in  practice  from  3^  of  an  inch  to  lpj 
inches. 

Judge  Coxe  then  proceeds  with  his  dis- 
cussion and  ruling,  and  says : 


84 


MONUMENT  DEALER’S  MANUAL 


The  longitudinal  joints  are  thus  raised 
above  the  general  slope  of  the  roof  the 
distance  that  the  side  roof  stones  have 
been  cut  away  to  form  the  ribs.  If,  there- 
fore, rain  should  be  driven  horizontally 
by  the  wind  the  water,  in  order  to  reach  the 
inside  of  the  tomb,  must  be  driven  not  only 
up  the  slanting  roof-stone  but  also  up 
the  vertical  wall  of  the  rib.  Whatever 
novelty  there  may  be  in  the  combination 
of  the  claim  must  be  found  in  these  raised 
joints  or  seams.  It  cannot  be  pretended 
that,  with  these  omitted,  there  is  any- 
thing patentable  in  the  Tayntor  struc- 
ture, as  exemplified  by  the  claim  in  con- 
troversy. We  do  not  understand  that  the 
combination  can  be  saved  by  reason  of 
the  fact  that  it  includes  pediments  as  one 
of  its  elements.  The  person  who  first 
conceived  the  raised  joint  may  be  entitled 
to  rank  as  an  inventor,  but  it  required  no 
exercise  of  the  inventive  faculty  to  apply 
the  old  joint  to  the  roof  of  a structure 
having  pediments  or  any  other  especial 
characteristic,  provided  no  new  result  is 
produced  by  such  application.  The  raised 
joints  produce  the  same  results  whether 
there  are  pediments  at  the  ends  of  the 
building  or  not.  There  is  nothing  novel 
in  the  pediments,  so  far  as  the  sec- 
ond claim  is  concerned.  It  is  not  lim- 
ited to  any  particular  variety  of»  pedi- 
ment. A roof  having  the  other  elements 
of  the  claim  and  pediments  of  any  con- 
struction, would  anticipate.  The  special 
features  of  the  pediments  of  the  Tayntor 
structure  are  covered  by  claims  7 to  10, 
inclusive.  The  raised  joints,  which  are 
the  features  upon  which  the  claim  must 
stand  or  fall,  are  clearly  shown  in  the 


Black  and  Feigenspan  tombs.  The  gen- 
eral construction  of  these  edifices  differs 
from  that  of  the  Tayntor  tomb;  the  pitch 
of  the  roof-stones  is  less  and  there  are 
many  minor  differences  of  construction, 
but  the  raised  joints  are  clearly  shown  in 
each,  operating  precisely  as  in  the  tomb 
of  the  patent.  In  both  the  prior  struc- 
tures wind-driven  rain  will  necessarily  be 
forced  up  the  slanting  roof  not  only,  but 
up  the  vertical  ribs  as  well,  in  order  to 
reach  the  seams.  The  differences  in  the 
slant  of  the  roofs,  the  height  of  the  ribs 
and  the  width  of  the  lips  are  differences 
of  degree  only.  It  cannot  be  successfully 
maintained  that  the  pitch  of  the  roof,  or 
any  of  the  differences  pointed  out  between 
the  prior  structures  and  the  structure  of 
the  patent,  are  of  the  essence  of  the  al- 
leged invention.  The  raised  joint  per- 

forms its  function  as  well  in  the  one  case 
as  in  the  other,  though  evidently  the  ne- 
cessity for  such  a joint  would  be  min- 
imized in  high-pitched  roofs  like  those  of 
the  Black  and  Feigenspan  structures. 

Surely  it  did  not  require  an  exercise  of 
the  inventive  faculty  to  place  the  old 
raised  joints  of  Black  upon  the  Goetchius 
tomb.  No  new  result  was  accomplished. 
The  plain  simplicity  and  beauty  of  the  de- 
fendant’s tomb  is  not  due  to  anything 
found  in  the  second  claim  of  the  patent. 
The  patent  is  not  for  a design. 

The  decree  of  the  Circuit  Court  decid- 
ing that  this  feature  was  not  patentable 
was  affirmed  with  costs. 

The  above  decision  refers  to  one  of  Mr. 
Tavntor’s  earlier  patents,  and  did  not  af- 
fect later  improvements  which  he  pat- 
ented. 


OUR  COSTLIEST  PRIVATE  MAUSOLEUMS. 


Could  you  give  me  the  names,  sizes  and 
approximate  cost  of  the  five  or  six  largest 
mausoleums  in  this  country,  or  whatever 
part  of  this  information  you  may  have? 
We  have  all  the  editions  of  the  Monu- 
mental News  for  the  past  ten  years 
or  more,  and  if  you  could  give  us  the 
month  and  year  in  which  the  largest 
tombs  may  have  been  described  we  would 
appreciate  it  very  much. — M.  J.,  Mo. 

The  Monumental  News  has  illus- 
trated and  described  in  years  past  nearly 
all  of  the  largest  and  most  expensive 


private  mausoleums  that  have  been  erect- 
ed in  this  country,  but  they  have  appeared 
at  such  long  intervals  it  would  be  impos- 
sible to  refer  you  to  all  of  them. 

Following  is,  however,  a summary  of 
the  leading  statistics  about  a number  of 
the  costliest  mausoleums  that  have  been 
erected  in  this  country : 

Gates,  Woodlawn  Cemetery,  New  York 
City;  erected  by  Stone,  Gould  & Farring- 
ton; cut  by  N.  Pelaggi  & Co.,  Northfield, 
Vt. ; 54x85  feet ; cost  $125,000. 

Ehret,  Woodlawn  Cemetery,  New  York 


MONUMENT  DEALER’S  MANUAL 


S5 


City ; cost  $100,000 ; approximate  ground 
dimensions,  37x37  feet. 

William  Bradley,  Woodlawn  Cemetery, 
New  York  City;  erected  by  Harrison 
Granite  Co.,  New  York  City;  cut  by  Jones 
Bros.  Co.,  Barre,  Vt. ; cost  $100,000;  di- 
mensions, 35-8x46-8x21-0  high. 

Chisholm,  Portland,  Me. ; erected  by 
Flint  Granite  Co.,  New  York  City;  cut 
by  Jones  Bros.  Co.,  Barre,  Vt. ; cost  $92,- 
000;  dimensions,  39-8x17-10x22-0  high. 

Anthony  N.  Brady,  Albany,  N.  Y. ; 
erected  by  Flint  Granite  Co.,  New  York 
City;  cost  $85,000;  43-0x25-0x20-0  high. 

Edward  E.  McCall,  Albany,  N.  Y. ; erect- 
ed by  Flint  Granite  Co.,  New  York  City; 
cost  $67,000 ; dimensions,  42-6x20-0x24-6 
high. 

Poth,  West  Laurel  Hill  Cemetery,  Phila- 
delphia; cost  about  $50,000;  27-0x34-6  in 
ground  dimensions. 

In  Homewood  Cemetery,  Pittsburgh ; 
“Eaton,”  30-0x24-7;  cost  $26,000;  “Jen- 


THE TOMB  OF 

King  Mausolus,  whose  lifeless  form  is 
supposed  to  have  rested  for  2,000  years 
in  the  magnificent  tomb  illustrated  above, 
is  credited  with  having  conceived  the  idea 
of  erecting  such  edifices,  hence  the  name 
mausoleum.  His,  at  least,  was  one  of  the 
few  great  works  of  the  ancient  world  and 
was  commenced  prior  to  his  death,  in  353 
B.  C.  After  his  death  Artimisia,  his  wife, 
employed  the  most  skillful  architects  and 
sculptors  and  continued  the  work.  Two 
years  later  she  was  removed  by  death, 
leaving  the  monument  unfinished  and  the 
vast  sums  of  money  required  to  complete 
the  mausoleum  not  provided  for.  History 
tells  us  that  the  architects  and  sculptors 
resolved  to  complete  the  work  without  fur- 
ther remuneration  than  the  honor  and  sat- 
isfaction of  the  success  they  had  achieved. 

Mr.  C.  T.  Newton,  keeper  of  the  Greek 
and  Roman  antiquities  in  the  British 
museum,  has  followed  the  description 
which  Pliny  left,  and  guided  by  his  dis- 
coveries, concludes  that  the  mausoleum 
was  composed  of  a basement,  65  feet  in 
height;  a peristyle,  or  enclosure  of  col- 
umns, within  which  stood  a structure  of 
richly  decorated  solid  walls,  37  feet  in 
height ; a pyramid,  25  feet  in  height,  and 
upon  the  pyramid  or  upon  a pedestal  that 


nings,”  29-6x16-10 ; cost  $20,000 ; “Pit- 
cairn,” 30-0x15-0;  cost  $22,000. 

H.  Messchert,  West  Laurel  Hill,  Phila- 
delphia ; cost  $25,000 ; dimensions,  16-6x 
23-0. 

Spring  Grove  Cemetery,  Cincinnati,  O. ; 
“Groesbeck,”  25x30  feet ; cost  $25,000 ; 
“Fleischmann,”  25x35  feet ; cost  $35,000 ; 
“McDonald,”  20x30  feet ; cost  $30,000. 

Andrews  mausoleum,  Lake  View  Ceme- 
tery, Cleveland,  O. ; erected  by  C.  E.  Tayn- 
tor  Granite  Co.,  New  York  City;  cost  $65,- 
000;  dimensions,  25-0x38-0x18-3;  cut  by 
Jones  Bros.  Co.,  Barre,  Vt. 

In  Graceland  Cemetery,  Chicago : Pot- 

ter Palmer,  26x40  feet ; Martin  Ryerson, 
17x24  feet ; “Wilke,”  15x15  feet. 

E.  H.  Gary  mausoleum,  Wheaton,  111. ; 
cut  by  Jones  Bros.  Co.,  Barre,  Vt.,  for 
Charles  G.  Blake  & Co.,  Chicago. 

“Krueger,”  Newark,  N.  J. ; cut  by  Jones 
Bros.  Co.  for  George  Brown,  Newark, 
N.  J. 


MAUSOLUS. 

rose  therefrom,  a four  horse  chariot,  in 
which  stood  a female  figure,  that  may 
have  been  intended  for  his  favorite  deity 
or  for  his  faithful  spouse.  The  entire 
height  was  about  140  feet,  and  may  have 
been  considerably  more.  The  length  of 
the  basement  was  114  feet  and  its  width 
92  feet. 

The  mausoleum  has  received  constant 
mention  from  the  time  of  Strabo  tQ  the 
twelfth  century  of  the  Christian  era. 
Gregory  of  Naziansen,  writing  in  the 
fourth  century,  notes  that  its  sanctity  had 
evidently  not  been  violated.  Eustathius, 
writing  in  the  twelfth  century,  in  his 
commentary  upon  the  Iliad,  says : “It 

was,  and  is  a wonder.”  Between  this  and 
the  following  century,  what  man  had  thus 
far  spared  succumbed  to  some  convulsion 
of  nature,  for  in  1402,  when  the  Knights 
of  St.  John  took  possession  of  the  site 
for  a stronghold  against  the  Saracens,  the 
mausoleum  was  no  more,  and  its  dismem- 
bered fragments  served  as  materials  of  the 
new  fortification.  The  work  of  destruc- 
tion was  not  complete,  however,  until 
1522,  when  the  Sultan,  Solyman,  seeming 
to  threaten  Rhodes,  the  Grand  Master, 
sent  the  Knights  again  to  the  site  of  the 


86 


MONUMENT  DEALER’S  MANUAL 


TOMB  OF  MAUSOLUS,  FROM  WHICH  WORD  “MAUSOLEUM”  WAS  DERIVED. 


city  of  Mausolus  to  further  strengthen 
the  Castle  of  St.  Peter.  Then  the  stones 
of  the  base  of  the  Mausoleum  were,  for 


the  first  time,  disturbed  and  the  sepulchral 
chamber  and  the  sarcophagus  seen  again 
by  men. 


THE  MONUMENT  DEALER’S  LIBRARY. 


A completely  equipped  monument  firm 
ought  to  have  in  its  library  nearly  all  the 
important  works  published  that  have  any- 
thing to  do  with  monumental  art  or  monu- 
mental materials.  We  should  recommend 
the  purchase  of  as  many  as  possible  of  the 
following  list  of  books : 

“The  Monument  Dealers’  Manual,”  pub- 
lished by  Monumental  News,  536  South 
Clark  St.,  Chicago;  price,  $5. 

“Building  and  Ornamental  Stones,”  Bul- 
letin No.  4 of  Wisconsin  Geological  and 
Natural  History  Survey. 

“The  Stone  Industry  for  1912,”  U.  S. 
Geological  Survey. 

“The  Granite  of  Vermont,”  Bulletin  404 
of  the  U.  S.  Geological  Survey.  - 

“Reports  of  George  H.  Perkins,”  Ver- 
mont State  Geologist,  1913-1915. 

“Chief  Commercial  Granites  of  Massa- 
chusetts, New  Hampshire  and  Rhode  Is- 
land,” Bulletin  453  of  U.  S.  Geological 
Survey. 

“Building  and  Ornamental  Stones  of 
North  Carolina,”  Bulletin  No.  2 of  North 
Carolina  Geological  Survey. 

Merrill’s  “Stones  for  Buildings  and  Dec- 
oration,” published  by  John  Wiley  & Sons, 
New  York  City,  N.  Y. 

“Important  Symbols,”  by  Adelaide  S. 
Hall,  published  by  Bates  & Guild,  Boston. 

“Principles  of  Greek  Art,”  by  Percy 
Gardner,  published  by  the  Macmillan  Co., 
New  York. 

“Ancient  Sepulchral  Monuments,”  by 
Brindlejr  & Weatherly,  published  by  the 
Stone  Trades  Journal,  London,  England. 

“Egyptian  Obelisks,”  by  Henry  H.  Gor- 
ringe,  published  by  the  author  at  32  Wa- 
verly  Place,  New  York,  N.  Y. 

“Modern  American  Sculpture,”  a col- 
lection of  plates  of  the  leading  American 
sculptures;  published  by  Paul  Wenzel,  31 
East  12th  St.,  New  York. 

“History  of  Sepulchral  Cross  Slabs,”  by 
K.  E.  Styan,  published  by  Bembrose  & 
Sons,  London,  England. 

“History  of  Ornament,”  by  A.  D.  F. 
Hamlin,  published  by  The  Century  Co., 
New  Tork. 

“The  Care  of  Ancient  Monuments,”  by 
G.  B.  Brown,  published  by  the  Macmillan 
Co.,  New  York,  N.  Y. 

“Handbook  of  Drawing,”  by  W.  Walker, 
published  by  Chas.  Scribner’s  Sons,  New 
York. 

“Memorials  and  Monuments,”  by  Law- 
rence Weaver,  sold  by  Chas.  Scribner’s 
Sons,  New  York. 


“Renascence  Tombs  of  Rome,”  by  G.  S. 
Davis,  published  by  E.  P.  Dutton  & Co., 
New  York  City. 

“The  Cross  in  Tradition,  History  and 
Art,”  by  Rev.  W.  W.  Seymour,  published 
by  G.  P.  Putnam’s  Sons,  New  York,  N.  Y. 

“Freehand  Perspective  and  Sketching,” 
by  Dora  Miriam  Norton,  published  by  the 
author  at  Pratt  Institute,  Brooklyn,  N.  Y. 

“Six  Lectures  on  Architecture,”  pub- 
lished by  the  University  of  Chicago  Press, 
Chicago,  111. 

“The  Enjoyment  of  Architecture,”  by 
T.  F.  Hamlin,  published  by  Duffield  & Co., 
New  York,  N.  Y. 

“Memorial  Art,  Ancient  and  Modern,” 
published  by  Harry  A.  Bliss,  Buffalo,  N.  Y. 

“Sculptured  Crosses,”  published  by  Gran- 
ite, Marble  and  Bronze,  Boston,  Mass. 

“Nash’s  Expeditious  Measurer,”  pub- 
lished by  Baker  & Taylor  Co.,  354  Fourth 
Ave.,  New  York. 

“Complete  Granite  Estimates,”  published 
by  Chas.  H.  Gall,  127  North  Dearborn  St., 
Chicago. 

“Barre  Granite  Estimating  Book,”  pub- 
lished by  Granite  Manufacturers’  Associa- 
tion, Barre,  Vt. 

“George’s  Book  of  Wisconsin  Granite 
Estimates,”  published  by  George  Brothers 
Co.,  Dixon,  111. 

“Essentials  of  Composition  as  Applied 
to  Art,”  published  by  the  Macmillan  Co., 
New  York,  N.  Y. 

“Letters  and  Lettering,”  by  Frank  C. 
Brown,  published  by  Bates  & Guild,  Bos- 
ton, Mass. 

Two  standard  works  of  reference  on 
ornament  that  are  ver}^  comprehensive  are 
the  following: 

“Dictionary  of  Architecture  and  Build- 
ing,” by  Russell  Sturgis,  in  several  vol- 
umes, published  by  the  Macmillan  Co., 
New  York;  “Handbook  of  Ornament,”  by 
F.  S.  Meyer,  published  by  Bruno  Hess- 
ling,  New  York. 

Some  other  general  descriptive  works  on 
ornament,  profusely  illustrated  with  every 
style  of  decorative  ornament,  are  the  fol- 
lowing : 

“Historic  Ornament,”  by  James  Ward, 
Vol.  I,  published  by  Chapman  & Hall, 
London. 

“The  Principles  of  Ornament,”  by 
James  Ward,  imported  by  Chas.  Scribner’s 
Sons,  New  York  City. 

“The  Planning  of  Ornament,”  by  Lewis 
F.  Day,  published  by  B.  T.  Batsford,  94 
High  Holborn,  London. 


88 


MONUMENT  DEALER’S  MANUAL 


Works  describing  the  technical  processes 
used  in  modeling  and  sculpture  are  the  fol- 
lowing : 

“Plaster  Casts  and  How  They  Are 
Made,”  published  by  Wm.  T.  Comstock, 
New  York  City. 

“Technique  of  Sculpture,”  by  William 
Ordway  Partridge,  published  by  Ginn  & 
Co.,  Boston,  Mass. 

“Modeling  and  Sculpture,”  a description 
of  the  various  methods  and  processes,  by 
Albert  Toft,  published  by  Seeley  & Co., 
38  Great  Russel  St.,  London. 

General  descriptive,  historical  and  crit- 
ical works  on  sculpture  that  are  very  in- 
formative and  interesting  are  the  follow- 
ing: 

“Handbook  of  Modern  French  Sculp- 
ture,” by  S.  Cady  Eaton,  published  by 
Dodd,  Mead  & Co.,  New  York  City. 

“How  to  Judge  Architecture,”  by  Rus- 
sell Sturgis,  published  by  Baker  & Tay- 
lor Co.,  354  Fourth  Ave.,  New  York,  N.  Y. 

“The  Appreciation  of  Sculpture,”  by 
Russell  Sturgis,  published  by  Baker  & Tay- 
lor Co.,  354  Fourth  Ave.,  New  York,  N.  Y. 

“Famous  Sculptures,”  described  by  great 
writers,  edited  by  Esther  Singleton,  pub- 


lished by  Dodd,  Mead  & Co.,  New  York, 
N.  Y. 

“History  of  American  Sculpture,”  by 
Lorado  Taft,  published  by  the  Macmillan 
Co.,  New  York,  N.  Y. 

“American  Masters  of  Sculpture,”  by 
Chas.  H.  Caffin,  published  by  Doubleday, 
Page  & Co.,  Garden  City,  N.  Y. 

“European  Architecture” ; plates  of  ar- 
chitectural decorations  on  European  build- 
ings; published  in  1892  by  Smith  & Pack- 
ard, Medinah  Bldg.,  Chicago. 

“The  Five  Orders  of  Architecture,”  by 
James  T.  Ball;  detailed  working  drawings 
of  the  Five  Orders  in  large  plates;  pub- 
lished by  Wm.  T.  Comstock,  23  Warren 
St..  New  York. 

No  doubt  many  of  these  works  may  be 
examined  at  public  libraries  before  buying 
them  and  probably  the  best  way  to  take 
up  the  purchase  of  them  would  be  through 
one  of  the  large  book  stores  in  your  city 
or  through  McClurg’s  of  Chicago  or  Bren- 
tano’s  of  New  York. 

The  Government  publications,  of  course, 
can  be  obtained  through  the  United  States 
Geological  Survey  at  a very  nominal  cost. 


BOOKS  ON  DRAWING  AND  LETTERING. 


“Letters  and  Lettering,”  by  Frank  Chou- 
teau Brown,  price  $2,  published  by  Bates 
& Guild,  144  Congress  St.,  Boston,  Mass. 

“Simplified  Mechanical  Perspective,”  by 
F.  F.  Frederick,  price  75  cents,  published 
by  Wm.  T.  Comstock,  New  York,  N.  Y. 

“Book  of  Alphabets  for  Stone  Cutters 
and  Draftsmen,”  published  by  Spon  & 
Chamberlain,  12  Cortlandt  St.,  New  York. 
Price,  25  cents. 

“Lettering  for  Draftsmen,  Engineer^  and 
Students,”  published  by  D.  Van  Nostrand 
Co.,  23  Murray  St.,  New  York  City. 
Price,  $1. 


“Modern  Alphabets,  Plain  and  Orna- 
mental,” published  by  the  William  T.  Com- 
stock Co.,  23  Warren  St.,  New  York  City. 
Price,  $1. 

“Practical  Lettering,”  published  by  G.  E. 
Strechert,  151  West  25th  St.,  New  York 
City.  Price,  60  cents. 

“Modern  Lettering:  Artistic  and  Prac- 

tical,” published  by  Wm.  T.  Comstock  Co., 
23  Warren  St.,  New  York  City.  Price,  $2. 

“Handbook  on  Linear  Perspective,”  pub- 
lished by  Ginn  & Co.,  388  Wabash  Ave., 
Chicago,  111.  Price,  $1.25. 


THE  DECORATION  OF  MOULDINGS. 


Of  all  the  architectural  elements  em- 
ployed in  our  line  of  work,  none  seem  to 
hold  a more  important  position  for  orna- 
mentation than  that  of  mouldings.  The 
fact  of  this  assertion  can  be  readily  felt 
by  attempting  to  ornament  one  of  the 
simplest  of  monuments,  that  of  the  plain- 
est sarcophagus*.  All  designs  save  those 
of  a pyramid,  obelisk  and  occasional  rock- 
face  work  which  are  not  architectural  in 
a sense  are  subject  to  become  freak  de- 
signs or  originalities  in  themselves  with- 
out the  aid  of  mouldings,'  no  matter  what 
name  or  style  be  given  to  them.  Apart 
from  the  proper  use  and  correct  distribu- 
tion of  mouldings  the  ornamentation  ap- 
plied to  them  is  a matter  equally  as  im- 
portant ; that  is  to  say,  an  ivy  or  floral 
design  on  a Greek  Echinus  or  a Guilloche 
pattern  on  an  Egyptian  bead  would  be  en- 
tirely inconsistent  as  to  position,  shape 
and  style  of  architecture.  Considering 
what  may  be  seen  in  our  cemeteries  of 
errors  similar  to  the  one  just  instanced, 
a little  reading  or  study  of  good  archi- 
tectural books  would  greatly  benefit  the 
designer. 

The  first  and  smallest  of  all  mouldings 
is  the  Fillet  and  too  small  to  decorate  ex- 
cept when  widened,  which  then  becomes  a 
Band. 

The  next  larger  moulding  is  a Bead, 
which  at  the  beginning  was  used  very 
frequently  by  both  the  Greeks  and  Ro- 
mans, who  in  some  instances  enlarged  it 
and  then  gave  it  the  name  of  a Torus. 
Figures  1 and  2 show  the  Greek  decora- 
tion of  the  Bead.  Figures  3,  4,  5 and  6, 
the  Roman.  Figures  7,  8,  9 and  10  the 
Renascence,  and  figures  11,  12,  13  and  14 
the  Romanesque,  Byzantine  and  Gothic. 

The  Torus  in  the  classic  orders  appears 
mostly  on  columns  and  pilasters  and  in- 
stead of  being  decorated  with  pearls,  discs 
and  spindles  this  more  important  moulding 
is  enriched  with  what  seems  to  be  a bun- 
dle of  rods  around  which  ribbons  are 
twisted  at  suitable  places,  Figures  15  and 
16 ; a decoration  which  is  consistent  with 
the  theory  of  this  moulding,  that  of  de- 
noting bond  and  strength.  It  is  some- 
times, too,  surrounded  with  a plaited  or 
net  work,  Figures  17  and  18.  In  the 
Renascence,  Mediaeval  and  Gothic  styles 
the  Torus  is  used  mostly  on  doorway, 
windows  and  string-courses  and  is  still 
richer  in  decoration  by  clothing  it  with 
various  designs  and  systems  shown  in 


Figures  19,  20,  21,  22  and  23.  Some  ex- 
amples are  most  exquisite  and  too  nu- 
merous to  illustrate,  they  being  decorated 
with  almost  every  conceivable  design,  wa- 
ter-leaves and  artificial  leaves  with  ser- 
rated margins.  Laurel,  oak,  ivy,  holly  and 
acanthus  all  make  good  elements  to  use. 
As  in  the  case  of  clustered  fruit,  ribbons 
are  twined  spirally  at  suitable  places 
which  appear  to  hold  the  elements  together 
as  in  Figure  24,  which  is  taken  from  the 
Louvre,  in  Paris. 

Figure  25  shows  the  first  decoration  of 
the  Ovolo  or  quarter-round  moulding.  In 
Greek  work,  of  which  the  figure  is  an  ex- 
ample, the  moulding  is  known  as  the 
Echinus  and  the  ornament  is  the  well- 
known  egg  and  dart  pattern,  from  which 
all  the  more  or  less  misunderstood  va- 
rieties have,  in  course  of  time,  been  de- 
rived. To  contrast  this  with  the  follow- 
ing varieties  one  may  observe  the  Greek 
love  for  simplicity  and  refinement  and  can 
hardly  say  it  is  improved  upon.  Figures 
26  and  27  are  Roman  examples  showing 
slight  variations.  The  egg  and  dart  orna- 
ment harmonizes  well  with  the  support 
and  weight  the  moulding  possesses  and  is 
nicely  adapted  to  its  position.  It  also  has 
a very  decorative  feature  as  a bordering 
member  on  panels.  Figures  28,  29,  30  and 
31  are  developments  which  can  be  used  in 
almost  any  other  style  than  the  Classic. 
In  Figure  32  can  be  seen  how  the  egg  or 
curved  surfaces  of  the  leaves  have  been 
covered  with  independent  ornamentation, 
defying  their  origin. 

The  origin  of  the  Cyma-reversa  received 
its  form  from  the  manner  in  which  it  was 
decorated.  Its  prototype  is  the  bird’s- 
beak  moulding  which  is  so  frequently  em- 
ployed on  all  Grecian  Doric  structures ; a 
row  of  leaves,  growing  upwards,  supports 
the  weight  above  it  and  is  bent  outwards 
by  its  pressure,  Figure  33,  which  only 
occurs  partially.  To  still  bend  the  leaves 
outward  and  down  towards  their  lower 
ends  we  thus  obtain  the  moulding  having 
its  double  curvature,  Figure  34.  A false 
conception,  which  regarded  the  leaf-shape 
merely  as  a geometrical  element,  after- 
wards gave  rise  to  the  corrupt  forms  of 
the  late  Greek  and  Roman  styles,  in  Fig- 
ures 35  and  36.  The  size  of  this  par- 
ticular moulding  does  not  afford  the  space 
for  variations  as  most  others  and  in  some 
instances  it  is  too  small  to  decorate,  which 
is  then  termed  a Cymatium.  For  this  rea- 


90 


MONUMENT  DEALER’S  MANUAL 


son  the  succeeding  styles  have  invariably  concluding  member  serving  as  a gutter, 
copied  the  original  or  Antique.  In  the  It  is  composed  of  two  arcs  curving  in- 

Renascence  the  simple  water-leaf  was  re-  ward  and  outward  respectively.  It  is  the 

placed  by  more  richly  serrated  ones  like  only  moulding  on  which  to  place  the  most 


FIG  1 


FIG.  2 


44Q#Of 


FIG.  3 FIG.  4- 

OOCXJ 

FIG.  <5 


FIG.  6 


fig.  7 Fig.  8 


FIG.  9 


FIG.  10 


FIG.  11  FIG,  12. 

oaxx>  rrrrz 

FIG.  13  FIG.  1 4- 

FIG.  15  FIG.  16 


FIG  25 

6 26 

®Hi 

fun 

Bm 

FIG  27 

7 FIG  28 

MS 

jrnm 

FIG.  50 


FIG.  33 


FIG.  34: 


FIG.  39 


FIG  4:Z 


FIG  43 


FIG  44 


the  artificial  leaf,  shown  in  Figures  87  and  beautiful  of  mould  decorations.  The  dou- 
gg.  ble  curve  is  a most  fitting  position  to  dis- 

The  Cyma-recta  is  the  topmost  and  larg-  play  either  the  natural  lines  in  all  foliage 
est  of  mouldings,  so  to  speak;  the  theory  or  artificial  ones.  The  first  decorations 

of  which  is  supposed  to  be  to  use  it  as  a were  those  of  the  Grecian  honey-suckle 


MONUMENT  DEALER’S  MANUAL 


91 


and  palmette  with  leaves  either  connected 
or  disconnected,  Figures  39,  40  and  41,  but 
mostly  with  lily  cups  between,  as  shown 
in  the  first  figure.  The  Romans  employed 


serves  as  a concluding  member.  Its  section 
is  concave  and  can  be  made  either  small 
or  large.  In  the  classic  styles  it  is  mostly 
found  under  a fillet,  and  therefore  usually 


mostly  the  acanthus  leaf,  Figure  42.  Both 
Renascence  and  Modern  art  follow  the 
tradition  of  the  Antique,  but  give  the 
palmette  a richer  form,  Figures  43  and  44. 

The  Cavetto,  like  the  Cyma-recta,  also 


small.  It  is  only  ornamented  when  made 
large,  but  does  not  receive  the  same  atten- 
tion as  the  Cyma-recta,  and  in  many  in- 
stances, regardless  of  its  size,  it  is  still 
left  plain.  Figures  45  and  46  show  the 


92 


MONUMENT  DEALER’S  MANUAL 


treatment  of  it  in  the  Classic,  which  is 
nothing  more  than  an  infringement  upon 
the  decoration  of  the  Cyma-recta.  All 
other  styles  made  extensive  use  of  the  Ca- 
vetto  and  found  it  a very  important  mould- 
ing in  the  way  of  decorating,  and  espe- 
cially in  the  joining  of  two  surfaces  where 
the  desire  is  to  have  them  become  tangen- 
tial. Judging  from  the  accompanying  illus- 
trations one  would  think  it  was  the  most 
important.  Take,  for  instance,  the  Egyp- 
tians. They  found  nothing  that  looked  more 
suitable  or  that  could  be  adapted  to  that 
particular  place  so  as  to  give  the  walls  of 
their  structures  the  appearance  of  com- 
pleteness ; that  of  carrying  and  terminating 
the  inclined  line  to  a proper  finish.  In  this 
moulding  they  put  their  most  important 
ornament,  that  of  the  winged  globe  or 
sign  of  Horus,  Figure  47.  Figure  48  shows 
the  treatment  of  the  lotus  plant  in  this 
moulding.  In  the  Renascence  we  find  the 
Cavetto  more  elaborate  (Figure  49),  but  in 
Gothic  work  may  be  seen  its  supreme 
position  over  other  mouldings  and  the 
height  of  its  embellishment  (Figures  50 
and  51),  not  only  as  a decorated  moulding, 
but  its  line  serves  as  a harmonious  division 
between  piers  and  clustered  columns.  The 
very  line  on  some  of  the  Gothic  capitals  is 
nothing  more  than  a decorated  Cavetto 
(Figure  52).  The  plain  moulding  itself  is 
frequently  used  to  soften  the  union  of  a 
wall  and  stylabate;  likewise  with  wall  and 
cornice.  In  the  former  case,  where  it  is 
used  at  the  base  of  a building  or  monu- 
ment, it  is  then  termed  a Scotia  ; simply  the 
Cavetto  inverted.  Windows  and  doors  can- 
not be  of  a true  Gothic  character  without 
this  line  of  the  Cavetto.  This  completes 
the  rudimentary  decoration  of  mouldings 
with  the  exception  of  the  Band. 

The  Band  can  hardly  be  called  a mould- 
ing, yet  in  many  cases  it  is  used  to  serve 
the  same  purpose  and  sometimes  comes  into 
direct  union  with  other  mouldings.  It  is  of 
one  flat  surface  or  face,  and  can  be  pro- 
jected or  raised  any  distance  from  the  body 
or  ground  upon  which  it  is  cut,  according 
to  what  it  is  going  to  serve  or  the  effect 
one  wishes  to  obtain.  In  designing  a 
monument  or  mausoleum  or  a plain  sarco- 
phagus where  the  different  surfaces  have 
to  be  divided  and  subdivided  into  panels  or 
zones,  the  importance  and  value  of  the 
Band  is  at  once  realized  and  appreciated, 


and  in  many  instances  it  can  be  employed 
where  no  other  moulding  will  answer.  In 
the  Classic  orders  the  Corona  is  sometimes 
ornamented  with  a Band  design  (Figure 
53),  and  in  some  rare  instances  a Band 
design  can  be  seen  on  the  architrave  of 
buildings.  Figure  54  is  the  design  used  on 
the  architrave  of  the  Temple  of  Jupiter 
Stator  at  Rome.  Most  commonly  in  An- 
tique we  find  the  Band  used  more  for  in- 
terior decoration  on  walls  and  in  mosaic 
floors.  Figures  55,  56,  57,  58,  59,  60  and  61 
show  the  designs  mostly  adapted  for  the 
Classic  treatment  of  Bands.  With  the  ex- 
ception of  the  fret  and  simple  scroll,  the  ar- 
rangement of  the  elements  are  known  as 
Link-borders,  so  termed  because  the  trans- 
versely-growing foliage  or  design  is  con- 
nected together  by  scrolls,  loops  and  hooks, 
which  serve  the  purpose  like  the  links  in  a 
chain.  All  Band  designs  should  possess  this 
one  strong  feature.  Rather  different  is  the 
Band  decoration  in  this  particular  respect 
from  the  Cyma-recta,  where  each  element 
may  be  detached  or  separated  one  from 
another.  Like  the  Cavetto,  the  Band  in 
all  the  subsequent  styles  of  architecture 
became  prominent,  especially  in  Roman- 
esque and  Late  Gothic,  where  it  developed 
to  a great  size  and  was  elaborately  deco- 
rated (Figures  62  and  63).  Sometimes  the 
large  ones  were  left  plain,  but  only  when 
used  on  the  lower  part  of  the  building,  and 
came  under  the  term  of  belting,  as  shown 
at  “A”  in  Figure  64. 

The  Link  border  is  generally  composed 
of  identical  details  symmetrically  repeated, 
and  its  forerunner  is  seen  in  the  connected 
lily  and  pomegranate  of  the  Assyrian  style. 
Unsymmetrical  and  naturalistic  forms 
should  be  avoided.  A good  decorated 
Band  in  some  instances  will  serve  better 
and  improve  the  appearance  of  an  object 
more  than  any  combination  of  mouldings. 
Again,  the  proper  decoration  of  mouldings 
in  a certain  combination  or  order  is  of 
vital  importance  regarding  the  size  and 
weight  of  each  member  and  the  proportion 
of  the  object  on  which  they  rest,  and  some- 
times, too,  a beautiful  profile  is  entirely 
ruined  by  some  incompetent  designer  by 
causing  a big  bunch  of  ugly  leaves  to  be 
carved  on  the  corner  of  a monument,  an 
instance  which  is  so  commonly  met  with 
in  our  line  of  work. 

Franklin  L.  Naylor. 


A MOVING  GRANITE  BALL  SUR  MOUNTING  A MONUMENT. 


In  the  principal  cemetery  of  Marion, 
Ohio,  there  is  a monument  which  has  at- 
tracted a great  deal  of  attention.  It  con- 
sists of  a large  stone  ball,  36  inches  in 
diameter,  resting  upon  a heavy  pedestal. 
This  ball  is  slowly  turning  upon  its  base, 
revolving  about  a horizontal  axis  in  a 
direction  from  north  to  south,  presum- 
ably by  the  action  of  the  sun’s  rays. 

The  monument  was  erected  a number  of 
years  ago  by  C.  B.  Merchant,  a local 
banker,  but  it  was  not  known  that  it  was 
turning  until  the  spring  of  1904,  when 
the  cemetery  employes  noticed  that  it  had 
apparently  shifted  a little.  Since  that 
time  it  has  been  watched  and  measured 
repeatedly,  and  it  is  established  beyond 
question  that  the  stone  is  turning  contin- 
ually. 

The  ball  was  never  securely  fastened 
to  the  base,  but  an  unpolished  spot  was 
set  in  a socket,  and  it  was  supposed  that 
the  friction  of  the  two  rough  surfaces 
would  be  sufficient  to  prevent  any  dis- 
placement. At  the  present  time,  however, 
the  rough  spot  is  nearly  half-way  to  the 
top  on  the  north  side,  and  has  moved  over 
five  inches.  The  ball  weighs  4,200  pounds. 

A number  of  theories  have  been  ad- 
vanced to  account  for  the  cause  of  this 
natural  phenomenon.  State  Geologist  Ed- 
ward Orton,  Jr.,  in  a letter  to  a member 
of  the  cemetery  association,  says  that  the 
rotary  movement  is  probably  due  to  two 
causes.  First,  the  ball  becomes  more 
heated  than  the  heavy  base,  and  conse- 
quently expands  more,  giving  rise  to  a 
slight  creeping.  The  ensuing  contraction 
might  not  be  sufficient  to  take  up  the  dis- 
placement caused  by  the  heat  in  the  earlier 
part  of  the  day. 

Secondly,  we  may  regard  the  circumfer- 
ence of  the  sphere  as  lengthening  out  on 
one  side,  and  giving  rise  to  a pulling 
stress  between  the  ball  and  base  upon 
which  it  rests. 

Prof.  Becker,  one  of  the  head  physicists 
of  the  Geological  Survey,  and  Prof.  Gil- 
bert, who  is  probably  the  most  prominent 
geologist  in  the  Survey,  have  been  con- 
sulted upon  this  question,  but  without 
very  satisfactory  results.  Both  were  un- 
certain as  to  the  cause  of  the  rotation  of 
the  sphere,  save  that  there  could  be  no 
doubt  that  it  is  attributable  to  the  action 
of  the  sun’s  rays.  Prof.  Becker  said  that 
if  the  rotation  were  from  south  to  north, 


instead  of  being,  as  stated  by  our  corre- 
spondent, from  north  to  south,  he  could 
more  easily  understand  the  case,  for  then 
expansion  of  the  sphere  itself  would  be  on 
the  south  side  chiefly,  so  that  leverage 
would  be  applied  on  that  side,  which  might 
raise  the  ball  there,  causing  it  to  slip 
downward  correspondingly  on  the  north 
side.  Prof.  Gilbert  suggested  that  there 
might  be  a difference  between  the  cup- 
shaped socket  and  the  sphere,  with  a cor- 
respondingly imperfect  fit  and  unequal 
friction  on  the  two  sides. 

There  is  a large  evergreen  tree  not  far 
from  the  monument,  and  apparently  di- 
rectly to  the  south  of  it.  It  has  been  sug- 
gested that  the  monument  is  thus  partly 
shaded  at  times,  or  for  a portion  of  the 
day,  and  that  there  is  some  connection  be- 
tween this  fact  and  the  rotation.  At  pres- 
ent, despite  all  these  theories,  there  seems 
to  be  no  satisfactory  explanation,  and  the 
phenomenon  will  probably  remain  unex- 
plained until  it  has  been  under  close  scien- 
tific. observation  for  a lengthy  period  of 
time. 

Revolving  granite  balls  surmounting 
monuments  are  also  reported  from  Huron, 
S.  D.,  and  Cohasset,  Mass.,  and  Albert 
Richards,  of  Quincy,  Mass.,  suggests  a 
very  plausible  explanation  of  the  phenome- 
non, and  a very  practical  remedy  for  the 
difficulty,  which  it  will  be  well  for  monu- 
ment makers  to  note  for  possible  future 
use  in  work  of  this  kind. 

Mr.  Richards  writes : “Concerning  turn- 
ing balls  on  monuments,  I should  like  to  say 
that  there  is  one  in  the  cemetery  at  Co- 
hasset, Mass.  This  monument  was  set 
about  three  years  ago.  I have  already 
turned  it  back  twice.  It  moves  in  the 
same  direction  as  the  one  erected  in 
Marion,  O.,  i.  e.,  from  northwest  to  south- 
east. When  my  attention  was  first  called 
to  this  I said  it  was  the  frost,  and  I still 
believe  it.  You  will  notice  when  winter 
comes  there  is  water  under  the  ball.  This 
freezes  and  the  expansion  lifts  the  ball. 
In  melting,  the  southeast  side  melts  first 
and  drops  back  on  the  die,  losing  a small 
fraction  of  an  inch  every  time  it  freezes. 
When  the  side  away  from  the  sun  melts 
it  drops  back,  but  does  not  get  back  as  far 
as  it  was  before  freezing.  This,  it  seems, 
is  the  best  explanation,  as  there  is  an- 
other ball  in  this  same  cemetery  that 


94 


MONUMENT  DEALER’S  MANUAL 


This  ball  on  brackets  This  ball  in  socket  in 

clear  of  die  will  not  turn  die  will  turn  in  frosty 

weather 

THE  ORDERS  OF 

The  essential  features  in  monumental 
designing,  in  fact  the  sources  from  which 
may  be  drawn  both  the  inspiration  and  in- 
formation absolutely  necessary  for  use  in 
the  creation  of  artistic  work  in  this  line, 
are  to  be  found  in  what  are  commonly 
understood  as  the  “five  orders  of  archi- 
tecture.” While  old,  they  are  ever  new ; 
and  as  constant  accessions  to  the  ranks  of 
monumental  artisans  and  students  present 
themselves,  such  information  is  always  op- 
portune. Moreover,  the  plates  given,  pre- 
pared for  architectural  students  in  one  of 
our  great  educational  institutions,  contain 
in  themselves  a fund  of  information  in  a 
practical  and  concise  form,  which  will  in 
many  respects  be  found  of  great  value  at 
all  times. 

The  first  illustration  gives  in  outline  form 
the  principles  of  the  Doric  order  drawn  to 
scale,  with  the  proportions  of  the  different 
members  in  terms  of  the  diameter  of  the 
column  at  its  base. 

I.  THE  DORIC  ORDER. 

The  origin  of  the  Doric  order,  the  first  of 
the  three  Grecian  orders,  is  not  very  well  de- 
fined, Vetruvius  himself,  the  great  ancient 
architectural  writer,  giving  several  theories 
concerning  it.  But  it  attained  a splendid 
development  in  the  flourishing  era  of  Greek 
art,  and  from  the  fact  that  the  great  ma- 
jority of  the  Grecian  temples,  of  which  any 
ruins  remain,  were  constructed  in  accord- 
ance with  its  principles,  it  must  have  been 
held  in  high  esteem  by  the  architects  of 
those  days.  In  general  it  is  simple  in  char- 
acter but  combines  with  a sense  of  solidity 
a refinement  of  outline  and  proportion 
which,  as  carried  out  in  the  finest  exam- 
ples of  Greek  work  gives  it  pre-emi- 
nence in  architectural  development.  In 
detail  it  varied  considerably,  though  sim- 


never  moves,  as  it  is  set  on  brackets  which 
allow  no  water  to  come  in  contact  with 
the  ball.  You  will  notice  all  those  that 
move  set  deep  in  the  die  and  leading  is 
not  water  tight.  If  the  socket  were  filled 
with  cement  I think  it  would  stay  all 
right.” 

The  diagrams  shown  herewith  illustrate 
clearly  Mr.  Richards’  explanation.  One 
shows  how  these  balls  are  commonly  set 
in  a socket  in  the  top  of  the  die.  In  the 
other  the  ball  is  raised  from  the  die  on 
brackets,  B,  so  that  the  water  may  freeze 
and  melt  without  touching  the  ball. 

ARCHITECTURE 

plicity  always  marked  the  Greek  type.  In 
pure  Greek  Doric  examples  there  were  no 
horizontal  lines,  a slight  curvature  being 
provided  in  all  cases,  and  in  the  columnar 
arrangement  the  columns  inclined  slightly 
toward  the  center.  To  such  a develop- 
ment did  the  Greeks  carry  their  art  in 
building,  that  design  took  into  considera- 
tion even  the  optical  effects  which  might 
tend  to  influence  the  precise  proportions 
of  the  structure. 

The  Romans  endeavored  to  adapt  the 
principles  of  the  Greek  orders  of  archi- 
tecture to  their  own,  but  the  Roman  char- 
acter lacked  the  subtle  refinement  of  the 
Greek,  which  is  well  exhibited  by  careful 
comparisons  of  the  examples  left  us  of 
both  peoples. 

The  plate  herewith  gives  the  proportions 
of  the  several  features  of  the  order  which 
can  be  readily  estimated  and  understood 
therefrom,  however  varied.  The  Greek 
type  had  no  base  to  the  column,  and  the 
column  varied  in  height  from  four  to  six 
diameters ; the  diagram  gives  greater 
length,  which  meets  modern  ideas.  The 
shaft  of  the  column  diminishes  in  diame- 
ter from  its  base  upwards  in  a slightly  con- 
vex curve  called  the  entasis.  The  usual 
number  of  flutes  to  the  column  is  twenty, 
though  this  varies,  and  in  one  example 
there  are  none.  The  flutes  are  segmental, 
or  semi-elliptical  or  eccentric  in  pattern, 
always  meeting  in  an  arris  which  follows 
the  entasis  up  to  the  collar  or  astragal, 
where  it  finishes  either  with  a straight  or 
curved  head. 

The  entablature,  the  third  main  feature 
of  the  order,  also  varies  in  height,  well 
known  examples  giving  from  ope  and 
three-quarters  to  something  over  two  diam- 
eters. The  diagram  gives  two  diameters, 
and  it  also  gives  the  proportions  of  the 


MONUMENT  DEALER’S  MANUAL 


95 


96 


MONUMENT  DEALER’S  MANUAL 


various  members  of  the  entablature,  such 
as  architrave,  frieze  and  cornice. 

The  architrave  seldom  carried  any  orna- 
ment beyond  the  regula  and  guttae  shown 
on  the  diagram.  The  frieze  is  horizon- 
tally divided  into  triglyphs  and  metopes 
whose  proportions  and  arrangement  are 
shown.  These  in  certain  details  varied, 
the  metopes  affording  opportunity  for 
sculptured  decorative  effects. 

The  crowning  feature,  the  cornice,  is 
given  in  detail  and  with  a plan  of  its  under 
surface,  showing  ornamentation. 

GLOSSARY. 

An  explanation  of  some  of  the  terms 
used  on  the  diagram  may  be  of  service  in 
the  future. 

Architrave — The  lowest  portion  of  the 
entablature,  immediately  resting  on  the  col- 
umn. 

Astragal — The  semi-circular  bead  or  col- 
lar about  the  top  of  the  column. 

Capital — The  head  or  upper  portion  of  a 
column. 

Cornice — The  highest  member  of  the  en- 
tablature. 

Dentils — The  small  square  blocks  or  pro- 
jections in  the  bed  moldings  of  the  cor- 
nice. Used  only  occasionally  in  the  Doric 
order. 

Frieze — The  middle  members  of  the  en- 
tablature upon  which  sculptured  adorn- 
ment is  much  used. 

Guttae — Ornaments  to  resemble  drops, 
placed  below  the  triglyphs  in  the  Doric 
order. 

Metope — The  space  between  the  triglyphs 
in  the  Doric  order. 

Mutule — A projecting  block  under  the 
corona  of  the  Doric  cornice  often  made 
'with  a slope  down  towards  the  front  and 
is  usually  worked  as  shown  on  plan  of 
entablature  in  diagram. 

Regula — A band  below  the  taenia. 

Taenia— The  band  or  fillet  of  the  archi- 
trave immediately  below  the  frieze. 

Triglyphs — An  inseparable  ornament  of 
the  order,  repeated  at  equal  intervals.  Each 
triglyph  consists  of  two  entire  channels 
separated  by  their  interstices  and  two  half 
channels  at  the  sides. 

II.  THE  IONIC  ORDER. 

In  the  preceding  matter  the  main  feat- 
ures of  the  Doric  order  of  architecture 
were  graphically  presented.  That  order  was 
referred  to  as  being  distinctly  Greek,  and 
may  be  said  to  have  been  invented  by  them. 
The  second  of  the  three  great  antique  or- 


ders is  the  Ionic,  of  which  a plate  is  here- 
with given. 

The  origin  of  the  Ionic  order  is  more 
or  less  shrouded  in  the  mists  of  antiquity, 
although  it  bears  strong  evidence  of  being 
derived  from  Asiatic  sources ; but  it  under- 
went the  refining  processes  of  Greek  wis- 
dom and  taste  and  became  an  ordef  under 
their  influence  whose  proportions  and  lines 
give  evidence  of  the  clear  insight  of  the 
Greek  character  of  the  time  in  the  devel- 
opment of  art  and  its  adaptations.  Vitru- 
vius says  that  the  building  of  a temple  to 
Diana  prompted  the  desire  to  find  some- 
thing new  in  the  line  of  the  beautiful  in 
architecture,  and  that  while  the  Doric  col- 
umn was  designed  after  the  proportions  of 
a man,  by  the  same  methods  they  designed 
the  Ionic  column  to  represent  the  propor- 
tions and  delicacy  of  the  female  figure. 
They  made  the  shaft  lighter,  put  a base  to 
it  of  twisted  cords,  like  a woman’s  sandals, 
made  a capital  with  volutes,  like  her  hair 
on  each  side  of  her  face,  and  fluted  the 
column  to  carry  the  idea  of  garments.  The 
old  writer  adds : They  invented  the  two 

kinds  of  columns,  on  one  giving  the  naked 
simplicity  of  the  man,  and  the  other  show- 
ing the  delicacy  and  ornaments  of  the 
woman.  The  distinguishing  mark  of  this 
order  is  the  volutes  of  the  capitals,  which 
in  the  pure  Ionic  are  designed  alike  on 
front  and  rear,  and  are  connected  on  the 
sides  by  an  ornamental  scroll.  The  plan 
of  the  capital  on  the  diagram  shows  this. 
On  corner  columns  there  are  three  volutes, 
the  one  on  the  external  angle  being  placed 
diagonally.  The  shaft  is  cut  with  twenty- 
four  flutes,  separated  by  fillets  which  fol- 
low the  entasis  of  the  column.  These  flut- 
ings  are  nearly  semi-elliptical  in  plan  and 
finish  at  top  and  bottom  in  similar  curves. 

The  base  of  the  column  in  the  ancient 
examples  shows  variation,  and  two  exam- 
ples are  shown  on  diagram,  but  the  Attic 
design  is  the  most  appropriate. 

The  most  perfect  examples  of  the  Ionic 
order  yet  remaining  are  to  be  found  on 
the  Acropolis  of  Athens.  The  Erechtheum 
and  the  temple  of  the  Wingless  Victory 
display  particularly  the  elaboration  of  or- 
nament which  had  necessarily  to  be  devel- 
oped and  applied  to  this  graceful  order. 
The  so-called  honeysuckle  ornament  em- 
bellishes the  neckings  of  the  columns  of 
the  Acropolis.  Speaking  of  the  neckings 
of  the  columns,  the  examples  of  the  Acrop- 
olis are  alone  in  this  particular;  it  is  an 
extension  of  the  column  above  the  ter- 
minal tops  of  the  flutings,  instead  of  carry- 


MONUMENT  DEALER’S  MANUAL 


97 


98 


MONUMENT  DEALER’S  MANUAL 


ing  the  latter  up  to  the  moldings  which  bed 
the  volutes. 

A much  greater  variety  exists  in  the 
details  of  the  Ionic  order  than  in  the 
Doric,  and  then  again,  in  the  matter  of 
decoration  the  artistic  fancy  had  more  lati- 
tude, and  ornament  developed  into  grace- 
fulness and  appropriateness. 

The  Ionic  order  has  found  some  expres- 
sion in  many  cemetery  memorials  and  ex- 
amples of  monumental  design,  and  its 
graceful  proportions  and  adaptability  to 
ornamental  details  make  it  especially  sug- 
gestive in  this  class  of  work. 

The  pediments  of  the  ancient  buildings 
constructed  on  the  Ionic  order  are  flatter 
than  those  of  the  Doric,  in  some  cases  the 
cornice  with  the  base  make  an  angle  less 
than  fourteen  degrees.  The  distance  in 
different  examples  also  varies — in  one  ex- 
ample two  diameters  is  the  distance,  in 
another  three  and  one-sixth  diameters. 

GLOSSARY. 

A continuation  of  the  glossary  given  in 
the  preceding  pages  explanatory  of  the 
technical  terms  often  used  will  be  good  for 
reference. 

Abacus — The  upper  part  of  the  capital 
of  a column. 

Antifixae — Ornamental  upright  blocks 
placed  at  regular  intervals  on  a cornice. 

Cavetto — A simple  concave  molding,  im- 
pending. 

Echinus — An  eccentrically  curved  mold- 
ing. When  cut  it  is  carved  into  forms  of 
eggs  and  darts. 

Fascia — Bands.  The  vertical  bands  into 
which  the  architraves  of  the  Ionic  and 
Corinthian  orders  of  the  architrave  are 
divided. 

Fillet — A narrow  vertical  band.  The  nar- 
row spaces  between  the  flutes  of  the  Ionic 
and  Corinthian  columns. 

Guilloche — A network-like  ornament, 
used  generally  to  embellish  the  torus. 

Modillion — The  ornamental  block  or 
bracket  used  at  regular  distances,  some- 
times under  the  cornices  of  the  Ionic  or- 
der, but  much  more  elaborate  and  more 
frequently  used  in  the  Corinthian  order. 

Ovolo — The  molding  in  the  molded  head 
of  the  Doric  column.  Meaning  egg-shaped. 

Plinth — The  lowest  member  of  the  base 
of  a column,  square  and  vertically  faced. 

Scotia — A concave  molding  most  fre- 
quently used  in  bases.  It  throws  a shadow 
on  itself. 

Torus — A molding  most  frequently  used 
in  bases.  It  is  convex,  very  nearly  semi- 


circular, and  generally  the  lowest  molding 
in  the  base. 

Volute — The  special  ornament  of  the 
Ionic  capital. 

III.— THE  TUSCAN  ORDER. 

The  illustration  presents  the  main  fea- 
tures of  the  so-called  Tuscan  order  of 
Architecture,  an  order  which  the  Romans 
appear  to  have  modified  from  their  Doric, 
at  least  it  may  be  said  to  be  a simpler 
form  of  the  Doric,  wherein  the  triglyphs, 
mutules  and  guttae  are  omitted,  and  the 
members  of  the  entablature  are  carried 
throughout  the  whole  length. 

It  has  been  a matter  of  considerable 
discussion  whether  the  Tuscan  should  be 
admitted  as  an  order  at  all,  for  no  ruins 
or  examples  have  been  left  to  us  of  any 
complete  structure  of  this  order,  and  it 
would  appear  that  the  description  of  its 
details  by  Vitruvius  were  so  obscure  that 
several  interpretations  have  been  made, 
resulting  in  as  many  conclusions  by  stu- 
dents of  ancient  architecture.  In  conse- 
quence the  proportions  by  these  several 
authorities  differ  more  or  less. 

It  was  said  above  that  no  complete  illus- 
tration of  the  order  has  been  discovered  in 
the  remains  of  antiquity,  although  a num- 
ber of  columns,  notably  the  Trajan  col- 
umn at  Rome,  give  color  to  the  idea  that 
Roman  architects  made  use  of  the  Tuscan 
design  to  some  extent. 

Vitruvius  in  his  description  of  the  prin- 
ciples of  the  order  does  not  speak  of  it 
as  of  a distinct  nature,  although  mention- 
ing the  construction  of  certain  Tuscan 
temples.  This  ancient  authority  makes 
the  shaft  six  diameters  in  height,  with  a 
diminution  of  a quarter  of  a diameter,  the 
base  half  a diameter  and  the  capital  half 
a diameter.  Pie  does  not  give  a propor- 
tion for  the  architrave  or  cornice,  omits 
the  frieze,  and  places  mutules  over  the 
architrave  to  project  one-quarter  height 
of  the  entire  column,  including  base  and 
capital,  and  he  does  not  provide  a pedes- 
tal. 

Palladio,  a noted  Italian  architect  of  the 
fifteenth  century,  whose  influence  is  still 
more  or  less  potent  in  classical  architec- 
ture, placed  the  total  height  of  the  order 
at  nine  and  three-quarters  diameters,  giv- 
ing six  to  the  shaft  and  a half  each  to  the 
base  and  capital.  He  allows  no  pedestal, 
but  puts  the  base  on  a plinth  of  one  di- 
ameter in  height. 

Scamossi,  another  Italian  architect,  and 


MONUMENT  DEALER’S  MANUAL 


99 


100 


MONUMENT  DEALER’S  MANUAL 


pupil  of  Palladio,  makes  the  entablature 
one-quarter  the  total  height  of  column 
less  one-half  a diameter,  and  he  gives  a 
pedestal  of  the  same  height.  On  the  frieze 
he  places  a sort  of  triglyph  for  decora- 
tion. 

The  lack  of  examples,  and  definite  in- 
formation concerning  this  order,  coupled 
with  the  fact  that  the  Romans  altogether 
failed  in  refinement  in  their  artistic  ef- 
forts, that  is  to  say,  compared  with  the 
Greeks,  detracts  from  the  value  of  this 
style.  It  is  inordinately  plain,  and  so 
closely  resembles  Doric  without  its  maj- 
esty or  simple  embellishments  that  it  looks 
unfinished.  Whatever  the  authority  was 
that  gave  it  the  dignity  of  one  of  the 
great  orders  of  classic  architecture  it  is 
difficult  to  explain ; but  the  adherents  of 
Vitruvius  and  his  methods  have  been 
strong  in  their  leanings,  and  the  old  builder 
so  impressed  his  followers  that  all  the  cen- 
turies since  have  experienced  more  or  less 
of  his  classic  vitality. 

GLOSSARY. 

Acloterium — Properly  speaking,  the  or- 
nament placed  on  the  apex  or  summit  of 
a pediment.  It  may  be  a statue. 

Annulets — The  small  fillets  or  bands 
which  encircle  the  lower  part  of  the  Doric 
capital  directly  above  the  neck. 

Bed-Mould — The  group  of  moldings  sit- 
uated under  the  projecting  portion  of  most 
cornices — part  of  the  cornice. 

Cabling — When  the  flutes  of  columns  ap- 
pear to  be  partly  filled  with  solid  convex 
masses,  they  are  said  to  be  cabled. 

Caryatides — Human  female  figures  mod- 
eled to  form  columns  or  piers,  or  to  sup- 
port a load. 

Cathetus — The  eye  of  a volute  in  an 
Ionic  column.  A determined  point  by  a 
line  depending  from  the  point  where  the 
volute  generates. 

Corona — The  deep  vertical  face  of  the 
projecting  part  of  a cornice  between  bed 
mould  and  covering  mould. 

Cove,  Coving — When  the  moulding  called 
the  caveUo,  or  the  inverted  scotia,  is  used 
on  a larger  plan  and  not  as  a moulding, 
it  is  termed  a cove  or  coving. 

Cyma-Recta — A moulding,  in  outline  a 
simple  waved  line,  or  reversed  curve.  When 
the  concave  part  is  placed  uppermost  it 
is  a Cyma-Recta. 

Cyma-Reversa — As  above,  with  the  con- 
vex part  uppermost. 

Cymatium — When  the  uppermost  mould- 


ing of  an  entablature  is  a cyma,  it  is 
termed  the  Cymatium. 

Module — The  term  generally  applied  by 
architects  as  a measure  to  determine  the 
proportions  of  the  parts  of  an  architec- 
tural order.  The  half  diameter  of  the  base 
of  a column  is  the  module,  which  is  again 
divided  into  thirty  parts  called  minutes. 
This  was  the  older  method,  the  entire 
diameter  has  now  generally  taken  its  place. 
A column  of  nine  modules  would  be  a 
height  of  nine  times  its  diameter. 

IV.— THE  CORINTHIAN  ORDER. 

The  fourth  in  the  list  of  orders  of  archi- 
tecture is  the  Corinthian,  perhaps  the  most 
delicate  as  well  as  elaborate  of  all,  and  the 
order  which,  among  the  Greeks,  seems  to 
have  been  brought  into  greater  use  in  cer- 
tain respects  about  their  domestic  archi- 
tecture than  in  either  of  the  others.  Its 
proportions  are  more  slender  and  the  in- 
dividual parts  are  treated,  so  to  speak, 
with  more  particular  consideration  in  de- 
sign and  detail. 

According  to  the  authorities  the  Corin- 
thian order  displays  its  Egyptian  origin, 
but  like  the  features  of  art  originally  bor- 
rowed from  Egyptian  sources,  the  Greeks 
soon  made  it  their  own,  by  adjusting  de- 
tails after  their  own  conceptions  and  de- 
sign, with  the  freedom  and  taste  of  their 
nature. 

For  instance,  the  acanthus  leaf,  which 
they  made  the  chief  decorative  feature  of 
the  capital,  is  essentially  Grecian.  The 
story  of  the  development  of  the  capital 
by  Callimachus,  stated  to  have  been  of 
the  fifth  century,  B.  C.,  from  a woman’s 
basket  covered  with  a tile  placed  on  a 
maiden’s  tomb,  about  which  the  leaves  of 
an  acanthus  plant  had  arranged  them- 
selves, is  a fable.  The  acanthus  leaf  was 
probably  an  ornament  of  long  use  with 
the  Greeks  for  other  purposes  than  archi- 
tecture. 

According  to  Fergusson,  the  Corinthian 
is,  as  a fact,  a composite  order,  “made  up 
of  bell-shaped  capitals  of  the  Egyptians 
and  the  spiral  of  the  Assyrians,  and  adopt- 
ed by  the  Greeks  at  a time  when  national 
distinctions  were  rapidly  disappearing,  and 
when  truer  and  severer  art  was  giving 
place  to  love  of  variety.  At  the  time,  also, 
mere  ornament  and  carving  were  sup- 
planting the  purer  class  of  forms  and  the 
higher  aspirations  of  sculpture  with  which 
the  Greeks  ornamented  their  temples  in 
their  best  days.” 

While  perhaps  of  early  origin  the  order 


MONUMENT  DEALER’S  MANUAL 


101 


102 


MONUMENT  DEALER’S  MANUAL 


does  not  seem  to  have  been  used  to  any 
extent  until  the  time  of  Alexander  the 
Great.  The  earliest  example  known  is 
that  of  the  Choragic  monument  of  Lysi- 
crates,  ascribed  to  335  B.  C.,  which,  al- 
though small  in  dimensions,  is  exception- 
ally beautiful  in  proportions  and  design. 

There  are,  unfortunately,  very  few  relics 
of  ancient  structures  of  the  Corinthian  or- 
der remaining.  The  Romans  in  due  time 
adopted  it,  and  as  with  the  other  orders, 
modified  and  subjugated  it  to  their  own 
national  ideas. 

The  order  comprises  a stylobate,  column 
and  entablature.  The  relative  proportions 
of  this  order  are  given  in  the  drawing. 
The  column  is  ten  diameters  in  height, 
having  a base  composed  of  torus  and  fillet; 
scotia  and  another  fillet,  rather  smaller 
than  the  other,  and  a second  torus  on  which 
is  a third  fillet  forming  a base  for  the 
apophyge  of  the  shaft.  The  shaft,  like 
the  Ionic,  has  twenty-four  flutes  and  fil- 
lets, and  diminishes  with  entasis  to  five- 
sixths  of  its  diameter  at  the  hypotrachel- 
ium,  or  moulding  beneath  the  cap.  The- 
flutes  are  very  deep  semi-ellipses,  almost 
semi-circles.  The  fillets  are  a little  more 
than  one-fourth  the  width  of  the  flutes. 
Further  details  are  graphically  explained 
on  the  illustration. 

The  stylobate,  or  we  might  call  it  plat- 
form or  base,  differs  in  the  Roman  Corin- 
thian, being  much  higher,  as  a rule,  but  it 
varies  in  this,  as  also  in  the  arrangement 
of  these  parts. 

The  Corinthian  capital  would  seem  to 
have  been  incomplete  in  the  hands  of  the 
Greeks,  the  order  being  the  latest  to  tax 
their  artistic  sense,  and  the  Romans  tak- 
ing it  up  certainly  added  to  its  fullness 
and  beauty.  It  may  have  been,  however, 
effected  by  Greek  artists,  acting  under  Ro- 
man orders.  Probably  very  nearly  a hun- 
dred Corinthian  capitals  of  different  de- 
signs have  been  found  in  Rome  and  por- 
tions of  the  Roman  Empire  executed  dur- 
ing the  three  centuries  of  Rome’s  imperial 
existence.  These  serve  to  display  in  a 
measure  the  various  influences  at  work 
on  architectural  art  of  the  period. 

GLOSSARY. 

Necking — The  annulet,  or  series  of 
mouldings,  which  separates  the  plain  part 
of  the  shaft  of  the  column  from  the  cap- 
ital. 

Ogee — A moulding  named  from  its  re- 
semblance to  the  letter  O placed  over  a G. 
Partly  a hollow  and  partly  a round. 


Order — The  column  with  its  stylobate 
and  entablature  comprise  an  order.  Vit- 
ruvius is  probably  the  cause  of  this  dog- 
matic term. 

Ovolo — The  term  applied  to  the  mould- 
ing which  with  an  abacus  formed  the  cap- 
ital of  the  Doric  column. 

Pedestal — The  term  applied  to  any  iso- 
lated mass  which  is  used  as  a support  for 
a statue  or  other  such  object. 

Pediment — The  part  of  a portico  which 
covers  the  end  of  the  roof  above  the  en- 
tablature, hence  its  triangular  form. 

Pilaster — A projection  from  or  against 
a vertical  surface,  having  the  appearance 
of  a column,  frequently  with  its  form  and 
decorations. 

Planceer — Used  frequently  instead  of 
soffit.  It  is  more  correctly  applied  to  the 
soffit  of  the  corona  in  a cornice. 

Plinth — In  the  Roman  orders  the  lowest 
member  of  the  base  of  a column  is  square 
with  vertical  faces.  This  is  the  plinth. 

Portico — The  open  space  between  the 
door  and  the  columns  in  a column  fronted 
building. 

V.— THE  COMPOSITE  ORDER. 

The  fifth  and  commonly  called  the  last 
of  the  five  orders  of  architecture,  is  the 
Composite.  It  is,  as  its  name  implies,  a 
composition,  comprising  certain  parts  or 
features  of  the  other  four  orders.  For 
instance,  in  the  design  of  its  capitals  are 
the  volutes  of  the  Ionic  order,  and  the 
rows  of  Acanthus  leaves  of  the  Corin- 
thian. The  quarter  round  of  the  Tuscan 
and  Roman  Doric  is  also  used  in  this  order. 

In  the  illustration  two  examples  of  en- 
tablature are  presented  from  the  two  great 
authorities  on  classic  architecture,  Vignola 
and  Palladio,  and  the  differences  are  very 
readily  discernible  from  the  sectional  out- 
lines shown.  The  arrangement  and  gen- 
eral proportions  of  the  order  range  very 
closely  to  the  Corinthian  and  indeed,  with 
the  exception  of  the  capital  itself,  the 
Composite  differs  less  from  the  usual  ex- 
amples of  the  Corinthian  than  various 
forms  of  Corinthian  differ  among  them- 
selves, as  may  have  been  inferred  from  the 
number  of  Corinthian  capitals  that  have 
been  found. 

The  Composite  order  was  used  prin- 
cipally by  the  Romans  in  their  triumphal 
arches,  and  except  in  such  architectural 
features  of  Roman  civilization,  in  its  best 
days,  we  do  not  find  it  in  use  any  where 
else. 

The  main  characteristics  of  the  capital 


MONUMENT  DEALER’S  MANUAL 


103 


PLAN  OF  CAPITAL  AND  ENTABLATURE  PLflN  0P,A“=£‘°'S 

_ tNl  Ap  LATUHl 


ARCHITRAVE  MORE  THAN3"4  FRIEZE  LE SS TH AN 3‘4  CORNICE  I DIAMETER 


104 


MONUMENT  DEALER'S  MANUAL 


are  the  enlargement  of  the  volutes  to  a 
fourth  of  the  height  of  the  capital,  and 
the  method  of  connecting  their  stems 
horizontally  under  the  abacus.  The  drum 
of  the  capital  is  girded  under  the  stem  of 
the  volutes  by  a molding  as  shown.  Two 
rows  of  Acanthus  leaves  occupy  the  bal- 
ance of  the  drum  of  the  capital  up  to  the 
volutes,  and  are  therefore  set  higher  than 
in  the  Corinthian. 

However,  the  Romans  varied  the  de- 
tails of  design  in  this  order,  even  in  the 
capitals,  incorporating  animals  of  various 
kinds,  the  human  figure,  armor,  foliage 
and  other  objects.  Nor  were  the  columns 
always  designed  after  one  type,  many 
relics  having  been  found  to  establish  this 
statement. 

The  great  use  of  a proper  understanding 
of  the  principles  of  the  orders  of  archi- 
tecture lies  in  the  proportion  and  rela- 
tion of  the  several  members.  How  well 
adapted  to  the  order  is  every  detail  of  it, 
and  when  assembled  into  the  completed 
forms,  how  harmonious  is  the  whole.  No 
lack  of  proportion  in  any  particular  fea- 
ture of  the  composition  mars  the  general 
effect,  every  detail  bears  its  weight  of 
importance,  the  absence  of  which  would 
make  itself  apparent  at  once,  and  the 
beauty  and  harmony  of  the  whole  would 
be  impaired.  The  sense  of  proportion  and 
harmony  was  wonderfully  developed  with 
the  Greeks  and  this  added  to  their  nat- 
ural appreciation  of  the  cause  and  effect 
of  beauty,  led  to  the  creation  of  works  of 
art  which  in  certain  respects  have  been 
unexcelled,  and  which  serve  to  maintain 
certain  principles  of  art,  as  developed  by 
the  Greeks,  standard  today. 

Proportion,  harmony,  beauty,  are  as 
much  essential  principles  of  monumental 
designing  today  as  ever,  and  a broader  and 
more  enlightened  handling  of  designs,  with 
a more  decided  appropriateness  to  sur- 
roundings and  requirements,  will  be  the 
reward  of  the  student  of  the  orders  of 
architecture. 

GLOSSARY. 

Prostyle — A portico,  the  columns  of 
which  project  beyond  the  building  to  which 
it  belongs. 

Regula — The  short  fillet  or  rectangular 
block,  under  the  taenia,  on  the  architrave 
of  the  Doric  entablature. 

Scotia — A concave  moulding  usually  used 
in  bases.  It  projects  a deep  shadow  on 
itself.  It  resembles  a reversed  ovolo. 

Shaft — In  classical  architecture  is  that 


part  of  the  column  between  the  necking  and 
apophyge  at  top  of  base.  It  is  also  now 
used  in  a broader  sense. 

Soffit — Comes  from  the  Italian,  meaning 
ceiling.  It  is  the  inverted  face,  or  under- 
side of  an  entablature,  or  under  face  of 
an  arch. 

Stoa — The  Greek  term  for  its  equivalent 
of  Porticus  in  Latin  and  Portico  as  used  in 
English. 

Stele — A small  monument.  The  orna- 
ment on  the  ridge  of  a Greek  temple,  or 
monument. 

Style — The  term  originally  applied  only 
to  columns  or  an  arrangement  of  columns. 
Its  broader  meaning  now  is  to  signify  the 
differences  in  the  mouldings,  general  de- 
tails and  other  features  of  the  architecture 
of  various  nations. 

Systyle — Where  columns  are  thickly  set 
— two  diameters. 

Stylobate — Is  the  basement  of  columns 
— where  it  is  continuous — in  contrast  to 
pedestal  which  is  the  base  of  an  isolated 
column  or  other  structure. 

Scroll — Is  the  same  as  volute,  but  volute 
is  usually  restricted  to  the  scroll  of  the 
Ionic  capital. 

Stereobate — Also  a base  but  distinguished 
from  stylobate  in  that  it  has  no  columns. 

Table — A term  applied  to  various  mould- 
ings, such  as  string  courses,  cornices,  etc. 

Tetrastyle — A portico  having  four  col- 
umns in  front. 

Torus — A swelling,  a convex  moulding 
which  approaches  to  nearly  a semi-circle. 
It  is  generally  the  lowest  moulding  of  a 
base. 

Tympanum — The  recessed  space  formed 
by  the  triangular  cornice  of  the  pediment. 

Volute — The  spiral  ornament  which 
forms  the  distinguishing  characteristic  of 
the  Ionic  capital. 

VI.— COMPARISON  OF  THE 
ORDERS. 

Another  illustration  in  this  series  gives 
a comparison  of  the  orders,  arranged  so 
that  with  a little  study  the  variations  in 
the  proportions  of  the  various  features  of 
the  several  orders  may  be  understood.  One 
of  the  striking  characteristics  of  Greek  ar- 
chitecture is  its  accuracy.  Proportion  and 
relation  of  the  several  parts,  one  to  the 
other,  was  maintained  with  the  greatest 
precision,  and  when  we  look  at  the  direct 
lines  of  the  diagrams  of  the  orders  as  they 
have  passed  through  these  columns  one 
does  not  at  once  realize  to  what  end  such 


MONUMENT  DEALER’S  MANUAL 


105 


106 


MONUMENT  DEALER'S  MANUAL 


MONUMENT  DEALER'S  MANUAL 


107 


apparent  absoluteness  leads.  And  yet  the 
rigid  laws  of  proportion  which  governed 
the  design  resulted  in  the  perfect  works, 
some  remnants  of  which  still  exist,  to 
prove  the  delicacy  of  reasoning  which  the 
refined  architects  of  Greece  brought  to 
bear  in  their  work  of  reducing  their  styles 
of  architecture  to  definite  proportions.  By 
their  system  they  could  calculate  with  re- 
markable precision  the  sizes,  and  their 
rules  as  at  present  understood  may  be  ap- 
plied to  what  remains  of  their  works  with 
the  certainty  that  variations  from  the  cal- 
culated figures  will  be  practically  imper- 
ceptible. 

An  appreciation  and  study  of  the  pro- 
portions and  principles  of  the  orders,  as 
given  here,  and  comparison  of  the  several 
features  in  the  plate  will  suggest  ideas  and 
cultivate  refinement  in  whatever  line  of 
monument  work  may  be  under  considera- 
tion. 

VII— PEDESTALS  AND  PILASTERS 

The  closing  plate  of  this  series  is  de- 
voted to  Pedestals  and  Pilasters  and  car- 


ries its  own  explanation.  Many  of  the 
great  students  of  classic  architecture  differ 
on  the  question  of  dimensions,  and  to 
some  extent  proportions,  and  in  the  plate 
herewith,  the  outlines  of  the  pedestal  are 
drawn  on  the  lines  laid  down  by  Sir  Wil- 
liam Chambers,  a noted  architect,  and  those 
advocated  by  Vignola  are  shown  in  dotted 
lines.  The  projection  of  the  wall  seldom 
exceeds  between  one-third  and  one-fourth 
of  its  width.  The  details  of  the  pedestals 
require  much  study  and  careful  designing, 
but  to  this  end  the  classic  proportions  are 
of  value  in  determining  final  values.  Prop- 
erly proportioned  details  in  ornamental  de- 
signing are  essential  to  a well  balanced 
design ; and  in  this  the  relation  of  the 
mouldings  and  other  component  parts,  to 
each  other  and  to  the  whole,  is  the  necessary 
study  of  any  one  aiming  to  produce  work 
that  will  neither  disappoint  the  eye  at  the 
moment,  nor  become  tiresome  in  time.  The 
beautiful  proportions  of  classic  architec- 
ture give  it  the  power  of  exciting  greater 
interest  the  more  it  is  inspected  and  studied. 


PLAN  FOR  IMPROVING  CEMETERY  LOT 


The  writer  is  very  much  interested  in 
planting  for  his  own  lot  the  coming  spring. 
Kindly  state  proper  name  or  names  of  the 
vine  or  plant  that  is  shown  covering  the 
graves  in  cuts  33  and  35 ; where  and  how 
to  buy  it ; amount  required  for  each  adult 
grave ; proper  preparation  of  the  ground ; 
whether  or  not  it  will  stand  the  winter.  My 
lot  is  full  of  ground  moles  and  they  work 
under  the  sod  and  keep  it  torn  up.  How 
can  they  be  gotten  rid  of?  How  can  the 
ground  be  prepared  to  raise  a good  set  of 
grass?  How  and  when  should  this  be 
done  and  what  kind  of  seed  would  be 
best?  I expect  to  erect  on  my  lot  an  ex- 
edra  style  monument  about  eight  by  ten 
feet  long  and  about  three  feet  wide  at 
base  and  not  over  six  feet  high.  The  lot  is 
twenty  feet  square  and  the  monument  will 
sit  on  upper  edge  of  lot  (lot  is  on  slight 
hill),  facing  down  hill  over  entire  lot. 
What  kind  of  plants  or  shrubs  would  be 
best  suited  for  planting  at  either  end  of 
base?  Give  proper  names  and  where  they 
can  be  obtained.  Of  course,  these  should 
be  something  that  will  stand  the  winter 
weather  here  in  southwestern  Pennsyl- 
vania.— Mont.  Wks.,  Pa. 

The  exedra  style  of  monument  is  gain- 
ing in  favor,  especially  when  it  is  properly 
placed  in  the  cemetery  with  room  on  the 


lot  to  allow  for  planting  back  of  it,  and 
having  an  open  view  of  it  from  the  adja- 
cent road. 

In  selecting  a cemetery  lot  it  is  much  to 
the  advantage  of  the  purchaser  to  consider 
the  relation  of  his  lot  to  the  road  near  by, 
also  the  possible  background  his  monu- 
ment will  have  when  it  is  erected.  Some- 
times it  is  possible  to  secure  a lot  with  a 
background  planting  already  in  place ; a 
planting  that  was  provided  for  in  the  plans 
prepared  by  the  landscape  architect  who 
arranged  the  roads,  platted  lots  and  desig- 
nated plantings. 

Your  inquirer,  however,  asks  informa- 
tion about  planting  at  ends  of  such  a mon- 
ument which  he  proposes  to  place  at  the 
edge  of  the  lot. 

First  of  all,  I would  not  place  a monu- 
ment at  the  exact  edge  or  lot  line  unless 
the  space  back  was  parked  space. 

With  a lot  20x20  and  an  exedra  monu- 
ment of  the  size  mentioned,  the  entire 
half  a lot  should  be  set  aside  for  the  mon- 
ument and  planting ; this  would  allow  space 
for  five  graves  on  the  other  half. 

If  the  exedra  is  placed  in  the  center  of 
the  half  lot,  allowing  five  feet  from  the 
lot  line  to  the  end  and  at  least  three  feet 
from  the  rear  line  of  lot  to  the  center 
portion  of  the  exedra,  this  will  give  a 


MONUMENT  DEALER’S  MANUAL 


106 

better  planting  space,  as  shown  in  illus- 
tration. 

The  preparation  of  the  soil  would  be  to 
wme  extent  a matter  of  local  conditions. 
Any  reasonably  good  soil  will  suffice  for 
shrubs,  trees  and  vines,  but  a little  care 
in  preparation  will  be  well  repaid. 

The  areas  to  be  planted  should  be  spad- 
ed to  a depth  of  16  to  18  inches  and  any 
heavy  clay  removed.  In  case  of  rock,  it 
should  be  removed  to  a depth  of  three 
feet.  The  space  resulting  from  the  re- 
moval of  rock  or  poor  soil  should  be  re- 
filled with  good  soil,  preferably  a mixture 
of  a considerable  portion  of  friable  clay 
and  enough  loam  or  well-rotted  compost 
to  lighten  the  clay.  The  grub  worm  does 
not  like  a clay  soil  and  the  mole  conse- 
quently does  not  hunt  him  there. 

The  graves  could  be  planted  with  Peri- 
winkle (Vinca  minor),  which  is  ever- 
green, or  English  ivy  (Hedera  helix).  The 
latter  would  probably  have  to  be  protected 
in  winter.  These  two  plants  probably 
make  the  neatest  ground  covers. 

In  planting  it  is  better  taste  to  use 
masses  of  plants  rather  than  a mixture  of 
various  kinds  in  a small  group. 

The  . following  planting  suggestions  are 
offered : 

First:  (AA)  could  be  Althaea  (Hibis- 

cus svriacus)  for  summer  blossoms,  with 
Van  Houtte’s  spiraea  (Spiraea  Van  Hout- 
tei)  for  spring  flowers. 

Second:  (AA)  could  be  Tamarix  (Tam- 
arix  gallica)  summer  blooming,  with  Hy- 
drangea (Hydrangea  paniculata  grandi- 
flora)  between,  for  fall  blossoms,  and  at 
the  ends  of  the  monument  Deutzia  ( (Deut- 
zia  gracilis). 

Third:  (AA)  could  be  Purple  Bar- 


berry (Berberis  purpurea)  for  color  of 
foliage  in  spring  and  summer  and  berries 
in  winter,  with  the  Lemoines  Deutzia 
(Deutzia  Lemoine)  between  and  paeonias 
at  the  ends,  alternated  with  Lespedeza 


• Flan  20'  x ZO'  L°t  • 


penduliflorum.  Paeonias  for  spring  flow- 
ers and  Lespedeza  for  fall. 

Fourth:  (AA)  could  be  Pyramidal  Ar- 
borvitae,  either  American  (Thuja  occi- 
dentalis  pyramidalis)  or  Oriental  (Thuja 
orientalis),  with  Mountain  Laurel  (Kal- 
mia  latifolia)  between  and  Azalaea  at  the 
ends  would  make  an  evergreen  group. 

There  are  so  many  good  varieties  of 
hardy  shrubs  and  small  evergreens  that 
this  list  might  be  extended  indefinitely. 

These  groups  are  suggested  with  the 
idea  that  they  are  not  to  be  planted  under 
trees. 

For  varieties  of  seed  for  lawn,  ask  your 
local  seed  man. 


Hark  & Hare. 


USE  AND  CARE  OF  PNEUMATIC  TOOLS. 


This  is  a broad  subject  to  cover  in  a 
paper  of  this  kind,  and  as  a matter  of  fact 
it  cannot  be  treated  in  any  other  way  than 
to  simply  touch  upon  some  of  the  more 
important  points  as  regards  the  construc- 
tion, operation  and  care  which  should  be 
given  pneumatic  tools  in  order  to  obtain 
the  highest  efficiency  and  value  from  their 
use. 

Perhaps  it  is  not  a very  interesting  sub- 
ject, but  from  our  experience  in  the  manu- 
facture of  pneumatic  tools  we  can  safely 
say  it  is  of  sufficient  importance  to  de- 
mand the  closest  attention  from  users  of 
these  devices.  We  know  that  thousands 
of  dollars  are  spent  every  year  in  the  re- 
pair of  tools  and  in  the  purchase  of  new 
ones  for  which  there  would  be  no  neces- 
sity if  proper  care  was  taken  of  the  old 
ones.  We  do  not  believe  that  any  pneu- 
matic tool  manufacturer  is  making  any 
money  from  his  repair  department,  and  if 
we  could  eliminate  repairs  on  our  tools 
and  apparatus,  we  would  willingly  spend 
any  reasonable  amount  of  money  to  accom- 
plish the  object. 

From  these  remarks  it  might  seem  that 
we  are  acting  against  our  own  interests  in 
advocating  closer  attention  to  this  part  of 
your  plant,  but  such  is  not  the  case.  If 
our  customers  can  be  brought  to  the  realiza- 
tion that  their  pneumatic  equipment  can  be 
rendered  more  efficient  through  proper  at- 
tention to  these  matters  than  it  is  at  the 
present  time,  we  profit  in  the  end  as  well, 
as  for  any  business  house  to  be  a perma- 
nent success,  it  is  an  absolute  necessity  for 
its  customers  to  be  satisfied  with  its  prod- 
ucts and  realize  the  fullest  measure  of 
profit  from  their  use. 

The  remarks  which  follow  are  applicable 
to  practically  every  make  of  pneumatic  tool 
on  the  market  at  the  present  time. 

A pneumatic  tool  has  a peculiarity  over 
any  other  operative  device,  inasmuch  as  the 
piston  or  actual  working  member  of  the 
tool  is  not  rigidly  connected  to  any  other 
part  of  the  mechanism,  but  is  floating,  as 
it  were,  in  the  cylinder  and  propelled  in 
one  direction  or  the  other  by  the  air  be- 
ing admitted  at  each  end  of  the  piston, 
either  by  a valve  as  in  the  case  of  plug 
and  rock  drills,  hand  facers,  and  surfacing 
machines,  or  by  the  piston  itself,  as  in  the 
case  of  carving  tools.  It  is  for  this  reason 
that  so  little  is  required  in  the  way  of  dirt, 
cutting  of  the  piston  or  barrel,  or  improper 
lubrication  to  cause  a decided  loss  in  the 
working  efficiency  of  the  tool. 


The  highly  polished,  accurately  fitted 
surfaces  of  the  internal  parts  of  a pneu- 
matic tool  are  particularly  susceptible  to 
the  action  of  rust,  caused  by  dampness 
when  not  in  use,  and  a tool  should  never 
be  laid  away,  even  over  night,  without  the 
precaution  being  taken  of  inserting  a few 
drops  of  oil  in  the  inlet,  attaching  to  the 
hose  and  running  the  tool  for  a second, 
so  that  the  oil  will  be  carried  through  by 
air  and  form  a thin  film  on  the  working 
parts. 

A much  better  plan,  however,  and  one 
that  is  practiced  successful^  in  a large 
number  of  plants,  is  to  have  a tank  large 
enough  to  hold  all  the  tools  in  use  filled 
with  kerosene  and  gasoline,  and  when  the 
tools  are  not  in  service,  keep  them  immersed 
in  the  oil.  This  serves  a double  purpose — the 
tools  are  kept  from  rusting  and  the  gaso- 
line or  kerosene  cuts  and  softens  any  de- 
posit of  oil  or  dirt  in  the  air  passages  of 
the  tool  that  may  come  from  the  compres- 
sor. In  the  morning  the  tool  should  be 
connected  with  the  hose  and  thoroughly 
blown  out,  then  disconnected,  a little  oil 
(just  a few  drops)  used,  and  it  is  ready 
for  operation. 

A few  drops  of  oil  inserted  at  intervals 
of  a couple  of  hours  throughout  the  day 
should  be  sufficient.  Always  use  a light, 
limpid  mineral  oil,  and  under  no  considera- 
tion whatever  use  an  animal  oil,  such  as 
lard  oil,  sperm,  etc.,  as  these  have  a ten- 
dency to  gum  and  clog  up  the  air  passages. 
Many  tools  coming  in  the  shop  for  repairs 
plainly  show  the  ill  effects  of  using  animal 
or  heavy  mineral  oil.  Oftentimes  it  is  neces- 
sary to  boil  them  in  lye  water  for  a num- 
ber of  hours  in  order  to  loosen  up  and 
remove  the  deposit  of  oil  and  gum  in  the 
parts.  Even  this  is  not  sufficient  in  many 
instances,  and  the  removal  of  a casing  and 
replacement  of  same  is  necessary  in  order 
to  properly  clean  out  the  passages. 

When  a carving  tool  refuses  to  run,  the 
trouble  almost  invariably  is  due  to  the 
piston  or  inside  of  the  barrel  having  be- 
come roughened  by  a bit  of  dirt  or  grit. 
To  remedy  this,  take  the  tool  apart  with  a 
piece  of  fine  emery  or  crocus  cloth,  or 
oilstone,  rub  the  abraded  part  of  the  piston 
smooth.  It  more  often  happens  that  the 
piston  is  rougher  than  the  barrel,  and  if  it 
is  found  that  the  barrel  has  suffered  also, 
take  a stick  about  the  radius  of  the  hole 
and  with  the  emery  cloth  carefully  smooth 
out  the  rough  places.  Then  dip  the  tool  in 
kerosene,  blow  out  thoroughly  with  air, 


110 


MONUMENT  DEALER’S  MANUAL 


and  put  together  and  it  will  generally  be 
found  to  operate  satisfactorily.  Never  put 
a piston  on  a grindstone  to  smooth  down 
a rough  spot,  as  the  chances  are  that  the 
piston  will  be  ruined. 

Sometimes  difficulty  is  experienced  in 
starting  a new  tool,  due  to  the  snug  fit  of 
the  piston  in  the  barrel.  In  a new  tool, 
when  properly  fitted,  the  piston  is  not  more 
than  one-quarter  thousandth  of  an  inch 
smaller  in  diameter  than  the  barrel  in 
which  it  works,  so  you  can  readily  under- 
stand why  it  does  not  require  much  dirt  in 
order  to  cause  trouble.  It  is  therefore  nec- 
essary that  the  greatest  precaution  should 
be  taken  during  this  breaking-in  period,  as 
it  might  be  termed,  of  a new  tool,  and 
care  and  attention  paid  it  until  the  piston 
has  become  worn  absolutely  smooth,  as 
the  least  particle  of  dirt  or  grit  will  either 
cause  the  tool  to  stop  entirely  or  will  cut 
the  piston  to  such  an  extent  that  it  will 
be  necessary  to  take  the  tool  apart  and  dress 
the  piston  and  barrel  as  before  mentioned. 
It  is  for  this  reason  also  that  a new  tool 
frequently  runs  warm  during  the  first  few 
days  of  its  use.  This  fact  that  a new  tool 
runs  slightly  warm  when  it  is  first  started 
is  rather  a point  in  its  favor  than  other- 
wise, as  it  is  an  indication  of  a perfect  fit 
of  the  piston  in  the  barrel,  and  this  running 
warm  will  generally  disappear  after  a few 
days’  service. 

Three-eighths-inch  hose  has  come  to  be 
regarded  as  the  standard  hose  for  use 
with  Carving  Tools.  This  is  correct  as 
far  as  the  size  of  the  hose  goes,  provided 
the  passage  in  same  is  not  obstructed  by 
pieces  of  the  inner  tube  becoming  torn 
and  rolling  up,  or  by  the  use  of  nipples  or 
fittings  in  which  the  openings  are  too 
contracted.  We  have  known  instances 
where  complaint  was  made  that  a tool 
was  not  as  efficient  as  it  might  be,  and  on 
examination  found  the  hose  in  some  part 
of  its  length  to  be  so  obstructed  by  the 
rolling  up  of  the  inner  tube  that  there 
was  left  a passage  of  an  actual  diameter 
of  less  than  y$-inch,  which  size  opening 
will  not  permit  the  proper  quantity  of  air 
to  pass  through  to  operate  a Carving  Tool 
to  its  best  efficiency. 

When  attaching  a tool  to  the  hose,  al- 
ways see  that  the  nipple  is  screwed  tight 
into  the  head,  otherwise  the  jar  and  vi- 
bration will  soon  destroy  the  threads  on 
both  the  nipple  and  in  the  head.  It  is  a 
very  good  plan  to  screw  a male  and  fe- 
male nipple  in  tight  in  the  head  and  leave 
it  there,  then  the  threads  of  the  head  are 


protected  and  the  nipple  can  easily  be  re- 
placed when  worn  out.  As  a matter  of 
convenience,  many  workmen  prefer  to 
use  the  tools  loose  on  the  nipple,  which, 
if  the  nipple  is  screwed  directly  into  the 
head  of  the  tool  will  soon  ruin  the  threads, 
and  especially  where  this  is  the  case  the 
M.  & F.  nipple  should  be  used  without  fail. 

Trouble  is  often  experienced  due  to  the 
hole  in  the  nipples  being  too  small.  Never 
use  a nipple  with  a Carving  Tool  which 
has  a clear  opening  through  it  of  less 
than  *4 -in.,  and  the  larger  it  is  the  better, 
as  it  causes  less  friction  and  wire  draw- 
ing of  the  air  in  its  passage  to  the  tool. 
To  get  the  best  results  from  a Carving 
Tool,  or  in  fact  any  Pneumatic  Tool,  the 
supply  of  air  at  the  tool  should  be  kept 
as  near  as  possible  at  the  Receiver  pres- 
sure, any  contraction  or  clogging  of  the 
passages,  either  in  the  hose,  nipples  or 
cocks,  will  cause  a lowering  of  the  pres- 
sure at  the  tool,  consequently  lowering  its 
efficiency.  Of  course,  in  work  like  fine 
carving,  etc.,  it  is  necessary  at  times  for 
the  workmen  to  throttle  off  the  air  at  the 
cock  and  the  above  remarks  do  not  apply 
in  this  case. 

If  a tool  does  not  start  immediately  when 
the  air  is  turned  on,  some  workmen  make 
a practice  of  striking  the  nose  end  vio- 
lently against  a stone,  or  other  hard  sub- 
stance in  order  to  start  it,  which  should 
not  be  done,  as  it  is  apt  to  injure  the  tool. 
In  nine  cases  out  of  ten  it  can  be  started 
by  simply  placing  the  thumb  over  the  ex- 
haust port  and  removing  it  suddenly.  If 
this  does  not  start  it,  insert  a chisel  in 
the  tool  and  strike  the  chisel  lightly  against 
the  stone. 

A bushing  in  a Carving  Tool  should  not 
be  allowed  to  become  excessively  worn 
before  replacing.  In  many  instances  where 
tools  are  sent  in  for  repairs  the  bushing 
has  been  worn  entirely  through  due  to  the 
workmen  always  holding  the  tool  in  one 
position.  Where  this  condition  exists  the 
piston  is  likely  to  fracture  owing  to  the 
fact  that  the  chisel  is  not  held  square  in 
the  tool  and  the  piston  strikes  it  an  oblique 
or  glancing  blow. 

It  would  seem  almost  unnecessary  to 
caution  against  the  use  of  a pipe  wrench 
on  the  barrel  of  a Pneumatic  Tool  in  tak- 
ing same  apart,  but  the  fact  that  we  con- 
tinually have  tools  coming  into  the  shop 
for  repairs  on  which  the  casings  have 
been  ruined,  and  in  many  instances  the 
barrel  broken  or  cracked  by  the  use  of  a 
pipe  wrench  would  seem  to  indicate  that 


MONUMENT  DEALER’S  MANUAL 


111 


a few  words  on  this  subject  might  not  be 
wasted.  There  is  no  make  of  Pneumatic 
Tool  on  the  market  at  the  present  time 
that  we  know  of  on  which  it  is  necessary 
to  use  a pipe  wrench  to  remove  the  head. 
If  flats  are  not  provided,  or  if  they  have 
worn  off  so  that. an  ordinary  wrench  can- 
not be  used  on  the  head  and  barrel,  the 
proper  procedure  to  follow  is  to  clamp 
the  head  in  a vice,  and  with  a short  piece 
of  %-iri.  or  24-in.  rope,  take  several  turns 
around  the  body  of  the  tool  and  with  a 
stick  or  lever  through  the  bight  of  the 
rope  unscrew  the  tool  from  the  head,  see- 
ing that  the  locking  pin  is  properly  de- 
pressed and  there  is  no  mechanical  ob- 
struction to  the  removal  of  the  head  ex- 
cept the  friction  of  the  threads. 

Another  point  in  which  economy  can  be 
exercised  in  the  use  of  Carving  Tools  is 
to  have  the  proper  tools  for  the  work  in 
hand.  In  other  words,  do  not  try  to  do  a 
heavy  rough  job  with  a ^-in.  or  1-in.  tool 
when  a 1*4 -in.  tool  would  do  it  in  one-half 
the  time.  It  will  not  take  long  to  pay  for 
the  extra  tool. 

One  more  point,  and  an  important  one, 
that  should  be  observed  in  the  use  of  a 
Pneumatic  Tool,  is  to  see  that  when  the 
workmen  lay  them  down  temporarily  they 
are  not  thrown  indiscriminately  into  a pile 
of  dirt,  as  stone  dirt  or  grit  finding  en- 
trance through  the  lower  end  can  do  just 
as  much  damage  as  if  it  came  through  the 
hose  from  an  unscreened  compressor  suc- 
tion. Workmen  should  also  be  instructed 
to  thoroughly  blow  out  the  hose  and  see 
that  it  is  perfectly  clean  before  screwing 
the  tool  on  to  the  nipple,  as  it  is  common 
practice  to  let  the  end  of  the  hose  drop 
into  the  dirt  when  the  tool  is  unscrewed, 
and  more  or  less  of  this  will  find  its  way 
into  the  tool  to  the  serious  detriment  of 
same  if  this  precaution  is  not  observed. 
Blowing  out  the  hose  also  answers  another 
purpose,  in  that  it  disposes  of  the  water 
which  might  have  settled  in  the  pipes  and 
hose  during  its  period  of  non-use. 

Chisels  used  in  Carving  Tools  should 
receive  constant  and  careful  attention.  The 
upper  end  of  the  bushing  in  a tool  is  pro- 
vided with  a shoulder  which  acts  as  a stop 
for  the  end  of  the  chisel  shank,  and  the 
piston  is  proportioned  as  to  length  so  that 
when  it  comes  down  and  strikes  a chisel 
held  up  against  this  shoulder,  the  exhaust 
ports  in  the  upper  end  of  the  barrel  are 
opened  just  the  proper  amount  to  allow 
the  air  to  escape  from  the  upper  end  and 
the  piston  to  make  a full  return  stroke. 


Therefore,  it  is  obvious  that  the  shanks  of 
chisels  should  be  kept  square  on  the  end, 
and  full  size  up  to  the  end.  If  they  are 
dubbed  off  on  the  end,  or  are  so  small 
that  they  pass  up  at  all  beyond  this  shoul- 
der, they  will  prevent  the  piston  from 
making  a full  downward  stroke,  the  air 
pressure  at  the  upper  end  will  not  be  re- 
lieved, and  the  complaint  will  be  made  that 
the  'tool  has  lost  its  power.  Of  course, 
after  long  continued  use  the  shoulder  of 
the  bushing  will  gradually  be  worn  so  that 
it  lets  the  chisel  up  too  far  and  the  same 
result  of  loss  of  power  will  be  observed, 
but  in  this  case  it  is  better  to  send  the  tool 
into  the  shop  for  adjustment  and  repair. 

The  matter  of  keeping  chisels  square 
and  flat  on  the  end  is  extremely  impor- 
tant. When  the  end  of  a shank  is  round- 
ing, the  impact  of  the  piston’s  blow  is  not 
distributed  over  the  entire  striking  surface 
of  the  piston  as  it  should  be,  but  is  con- 
centrated in  one  particular  spot  with  a 
consequent  liability  of  fracturing  the  pis- 
ton. As  a matter  of  fact,  a far  greater 
number  of  pistons  are  broken  in  this  way 
than  are  due  to  defects  in  the  pistons 
themselves. 

It  is,  of  course,  just  as  easy  to  make 
the  shank  of  a chisel  hard  as  it  is  the  pis- 
ton, and  the  certain  consequence  if  chisel 
shanks  are  as  hard,  or  harder  than  the 
piston,  and  do  not  have  a true  surface  at 
the  upper  end,  is  that  the  piston  must  suf- 
fer, so  it  is  always  good  practice  to  have 
the  shanks  of  chisels  softer  than  the  pis- 
ton. The  proper  color  or  degree  of  hard- 
ness is  what  is  termed  pigeon  blue. 

Point  and  bush  chisels  used  in  Surfac- 
ing Machines  and  hollow  steels  used  in 
Rock  Drills  are  particularly  subject  to 
breakage  in  the  shank  after  a longer  or 
shorter  period  of  use,  due  in  most  cases  to 
crystallization  of  the  metal  caused  by  the 
incessant  vibration  incident  to  their  use. 
A way  to  very  effectually  curtail  this 
breakage  is  to  periodically,  say  every  two 
weeks,  in  the  case  of  Surfacing  Tools, 
where  they  are  constantly  being  used,  an- 
neal the  shanks  by  heating  them  to  a low 
red  heat,  covering  up  with  ashes  and  al- 
lowing them  to  cool  slowly ; then  after 
they  are  cool,  reheating  and  toughening 
the  end  of  the  shank.  This  annealing 
process  allows  the  molecules  of  the  metal 
to  assume  their  original  positions  or  con- 
ditions from  which  they  have  been  dis- 
turbed by  the  constant  impact  of  the  pis- 
ton. 

Shanks  of  chisels  used  in  Hand  Facers 


112 


MONUMENT  DEALER’S  MANUAL 


and  Plug  Drills  should  be  2 in.  long 
from  the  end  of  the  shank  to  the  extreme 
end  of  the  fillet.  It  is  important  for  the 
proper  operation  of  these  tools  that  this 
length  be  maintained  as  accurately  as  pos- 
sible, as  the  length  of  the  shank  deter- 
mines the  stroke  of  the  piston.  In  dress- 
ing chisels  used  with  Hand  Facers,  Plug 
Drills  and  Surfacing  Machines,  see  that 
the  end  of  the  shank  is  perfectly  flat  with 
a small  bevel  at  the  upper  edge. 

From  the  point  of  efficiency  it  is  best 
to  use  as  short  and  light  a chisel  as  pos- 
sible in  connection  with  a Surfacing  Ma- 
chine, as  when  a long,  heavy  chisel  is  used 
a large  portion  of  the  energy  and  mo- 
mentum of  the  piston  or  hammer  is  taken 
up  and  absorbed  by  the  inertia  of  the 
chisel  due  to  its  weight,  so  that  the  actual 
work  accomplished  would  be  in  inverse 
ratio  to  the  weight  of  the  chisel.  The 
efficiency  of  a Surfacer  can  easily  be  re- 
duced 25  to  50  per  cent  by  the  use  of  in- 
ordinately heavy  chisels,  and  you  can  read- 
ily see  that  if  this  weight  of  the  chisel  is 
carried  to  an  extreme  limit  a point  would 
soon  be  reached  where  the  piston  would 
have  practically  its  whole  energy  con- 
sumed in  the  chisel,  and  very  little  work 
would  be  accomplished. 

When  a Plug  Drill,  Hand  Facer  or 
Bumper,  as  they  are  commonly  called,  or 
Surfacing  Tool,  stops  suddenly,  in  nine 
cases  out  of  ten  the  trouble  is  something 
small  and  unimportant.  Outside  of  the 
possible  breakage  of  an  important,  part 
like  the  piston,  the  usual  difficulty  will  be 
found  to  be  either  a cutting  of  the  piston 
or  barrel  due  to  dirt  or  grit,  as  has  been 
mentioned  in  connection  with  Carving 
Tools,  or  the  stoppage  of  some  port  of 
passage  by  dirt,  or  a piece  of  the  rubber 
lining  of  the  hose.  The  first  thing  to  do 
in  case  a tool  of  this  kind  stops  is  to  take 
it  apart  and  determine  if  the  valve  and 
piston  are  uninjured  and  in  perfect  work- 
ing order.  If  this  is  the  case,  take  a piece 
of  wire  and  probe  the  ports  in  the  valve 
box  and  barrel,  and  you  will  generally  find 
the  difficulty.  When  a tool  stops  on  ac- 
count of  wear,  it  does  not  stop  suddenly, 
but  gradually  falls  down  in  efficiency  and 
at  last  refuses  to  run.  For  a considerable 
length  of  time  before  stopping  entirely, 
however,  its  efficiency  is  so  reduced  as  to 
be  readily  noticeable. 

When  a tool  of  this  kind  stops  from 
wear  the  trouble  is  not,  as  is  generally 
supposed,  in  the  valve,  but  is  due  prin- 
cipally to  wear  on  the  tit  of  the  piston  or 


in  the  lower  end  of  the  barrel  where  the 
piston  comes  through.  In  the  case  of  Sur- 
facing Machines  this  would  be  the  barrel 
bushing,  but  in  Plug  Drills  and  Hand 
Facers  this  lower  end  of  the  barrel  is  not 
removable,  and  the  only  cure  for  it  is  to 
send  it  into  the  shop  an^  have  the  barrel 
and  this  lower  hole  lapped  out  concen- 
trically one  with  the  other,  and  have  the 
piston  made  with  a tit  to  accurately  fit  the 
hole.  In  the  case  of  a Surfacing  Tool  it 
is  simply  a renewal  of  the  barrel  bushing 
that  is  required  and  often  times  the  old 
piston  can  be  used,  as  frequently  the  wear 
occurs  more  in  the  barrel  bushing  than  it 
does  on  the  piston,  so  that  while  the  bar- 
rel bushing  may  be  worn  to  such  an  extent 
that  the  tool  is  practically  down  and  out, 
the  tit  of  the  piston  may  be  very  close  to 
standard  size. 

In  Plug  Drills  this  difficulty  may  some- 
times be  partially  remedied  by  a new  pis- 
ton, as  the  tit  of  the  old  one  may  be 
badly  worn  and  a new  piston  of  standard 
size  may  reduce  the  leakage  at  this  point 
so  as  to  make  it  for  a time  a very  good 
working  tool,  but  the  proper  way  is  to 
send  it  to  the  shop  and  have  a new  piston 
fitted  to  the  relapped  barrel. 

To  obtain  a smooth  running  Pneumatic 
Tool  it  is  necessary  to  properly  proportion 
the  amount  of  air  which  is  allowed  to  flow 
to  the  bottom  end  of  the  barrel  during  the 
upward  stroke  of  the  piston  and  this  pro- 
portioning is  obtained  by  the  size  of  the 
port  or  passage  leading  from  the  valve 
box  to  the  lower  end.  If  too  little  air  is 
admitted,  this  is,  if  too  small  a hole  is 
used,  the  action  of  the  tool  will  be  slow 
and  sluggish,  due  to  its  not  obtaining  a 
sufficiency  of  air  or  enough  pressure  at 
the  bottom  to  raise  the  piston  quickly, 
and  if  the  hole  is  too  large  and  too  much 
air  is  admitted,  in  the  case  of  Plug  Drills 
and  Hand  Facers  this  will  result  in  a very 
rough  running  tool  with  excessive  vibra- 
tion, while  in  Surfacing  Tools  the  piston 
will  strike  and  damage  the.  valve  box. 

This  is  a lengthy  matter  to  go  into  and 
probably  would  not  be  very  interesting 
from  a practical  standpoint,  and  the  only 
reason  we  are  mentioning  it  is  to  illustrate 
why  this  wear  of  the  tit  of  the  piston  and 
lower  end  of  the  barrel  so  seriously  af- 
fects the  efficiency  of  the  tool. 

Of  course  when  a tool  is  new  a consid- 
erable margin,  or  as  much  as  is  permissi- 
ble, is  allowed  in  the  way  of  admittance  of 
air  to  the  lower  end,  so  as  to  counter-bal- 
ance considerable  of  the  wear,  but  as  the 


MONUMENT  DEALER’S  MANUAL 


113 


tit  of  the  piston  or  barrel  bushing  wears, 
the  leakage  becomes  such  that  the  port 
which  was  properly  proportioned  when  the 
tool  was  new,  is  no  longer  able  to  furnish 
a sufficient  amount  of  air  to  raise  the  pis- 
ton to  the  top  of  the  barrel.  The  conse- 
quence is  that  the  stroke  of  the  piston  be- 
comes shorter  and  its  upward  movement 
slower,  until  in  the  end  the  ‘leakage  be- 
comes so  great  that  the  port  is  no  longer 
able  to  furnish  sufficient  air  to  perform  its 
function. 

As  an  illustration  of  what  this  leakage 
amounts  to,  we  can  take  for  example  the 
large  Surfacing  Machine  Tool,  the  piston 
of  which  has  a tit  1%  in.  in  diameter. 
When  the  tool  is  new,  the  tit  of  the  piston 
is  practically  an  air  tight  fit  in  the  bottom, 
or  in  the  barrel  bushing,  but  let  the  differ- 
ence in  diameter  between  the  tit  and  barrel 
bushing  be,  say,  two  thousands  of  an  inch, 
this  area,  taking  it  round  the  circumfer- 
ence of  the  tit  will  amount  to  the  same  area 
as  a hole  Vs  in.  in  diameter,  so  that  you  can 
readily  see  that  in  addition  to  the  falling 
off  in  efficiency  of  the  tool,  you  are  also 
wasting  air  which  would  flow  through  an 
opening  Vs  in.  in  diameter  during  one-half 
of  the  time  of  the  operation  of  the  tool, 
and  which  in  horsepower  at  80  lbs.  pres- 
sure would  amount  to  practically  2 h.p.,  or 
12  cu.  ft.  free  air  per  minute. 

The  same  conditions  which  we  have  men- 
tioned regarding  wear  at  the  lower  end 
of  the  piston  also  applies  to  the  valve,  but 
in  a smaller  degree.  Of  course,  this  wear 
of  the  valve  will  in  time  affect  the  tool  in 
exactly  a similar  manner  as  that  of  the 
piston,  but  the  lower  end  of  the  tool  is 
more  important  inasmuch  as  it  is  there 
that  the  greatest  wear  and  consequent  leak- 
age occurs. 

One  extremely  important  point  in  the  op- 
eration of  all  valve  tools  is  that  of  keeping 
the  tool  tight.  A Hand  Facer,  Plug  Drill 
or  Surfacing  Machine  Tool  should  never  be 
operated  for  a minute  after  it  becomes 
loose,  but  should  instantly  be  taken  to  the 
repair  shop  and  tightened,  or  in  the  case 
of  a Surfacer  Tool  time  taken  to  straighten 
up  the  clamping  bolts.  One  day’s  opera- 
tion of  any  of  these  tools  running  loose 
will  do  more  damage  and  harm  than  three 
months’  use  under  proper  conditions. 

Plug  Drills  should  not  be  run  for  a sin- 
gle moment  without  a bit  inserted  on  which 
the  piston  may  strike.  This  is  the  prin- 
cipal reason  why  a Plug  Drill  is  not  suit- 
able, and  should  not  be  used  for  bushing 
purposes,  or  for  such  work  as  the  Bumper 


or  Hand  Facer  is  commonly  used.  The 
reasons  for  this  are  as  follows : A Plug 

Drill,  in  order  to  be  efficient  as  a Plug 
Drill,  has  a heavy  piston  and  is  not  pro- 
vided with  a great  amount  of  air  cushion 
at  the  bottom  end,  so  that  when  it  is  oper- 
ated under  conditions  where  the  piston 
does  not  strike  the  chisel,  as  in  the  case 
of  bushing,  for  it  is  simply  impossible  to 
do  bushing  work  without,  the  tool  is  oper- 
ating for  a considerable  portion  of  the 
time  when  the  piston  is  not  striking  the 
head  of  the  chisel ; the  piston  of  a Plug 
Drill  will  in  this  case  hammer  the  bottom 
of  the  barrel  and  it  will  not  take  long  to 
so  injure  it  or  upset  it  that  the  tool  will 
be  in  need  of  repairs. 

In  a Hand  Facer  this  is  overcome  by 
using  a lighter  piston  and  more  air  cushion 
at  the  bottom,  so  that  even  though  these 
tools  are  operated  without  a chisel  or  bit. 
the  piston  does  not  strike  the  lower  end  of 
the  barrel  with  sufficient  force  to  do  any 
damage.  It  is  for  this  very  reason  also 
that  while  a Hand  Facer  will  do  Plug 
Drilling  it  will  not  do  it  with  the  efficiency 
and  speed  of  a Plug  Drill. 

A Plug  Drill  piston,  if  it  is  allowed  to 
strike  the  bottom  of  the  barrel  for  any 
length  of  time  will,  as  mentioned  above, 
not  only  injure  the  barrel,  but  it  will  take 
but  a very  short  period  for  the  piston  to 
crystallize  at  the  lower  shoulder  where  it 
strikes  the  barrel,  causing  the  piston  to 
break  at  this  point  and  it  will  also  be 
found  that  under  these  conditions  it  is 
almost  impossible  to  keep  the  Plug  Drill 
tight  and  in  proper  running  order. 

These  same  points  come  up  in  the  opera- 
tion of  a Surfacing  Machine.  A Surfacer 
Tool  should  not  be  allowed  to  operate 
under  these  conditions  any  more  than  a 
Plug  Drill,  as  aside  from  the  crystalliza- 
tion sure  to  occur  in  the  barrel  and  pis- 
»on,  this  crystallization  will  also  show  its 
effects  in  the  matter  of  bolts,  clamps,  and 
even  in  the  carriage  itself.  Many  opera- 
tors of  Surfacing  Machines  are  careless  in 
this  respect,  and  a very  large  portion  of  the 
breakages  of  bolts  and  clamps  are  due  to 
this  very  reason. 

Oil  is  as  much  a necessity,  or  more  so,  in 
these  tools,  as  it  is  in  Carving  Tools,  due 
to  the  much  larger  wearing  surfaces  and 
ffie  higher  duty  they  have  to  perform. 

In  regards  to  repairs  when  necessary  on 
Pneumatic  Tools,  it  is  always  advisable  to 
send  the  entire  tool  to  the  shop.  For  in- 
stance, when  a valve  box  is  sent  in  for  re- 
pairs the  factory  can  only  put  that  par- 


114 


MONUMENT  DEALER’S  MANUAL 


ticular  part  in  a condition  approaching  as 
near  as  possible  to  that  which  it  was  in 
when  new,  but  if  the  factory  has  the  entire 
tool  it  can,  when  this  part  is  repaired,  give 
the  tool  a thorough  test  and  determine 
whether  it  is  O K before  sending  it  back. 
The  fact  that  the  parts  of  a Pneumatic 
Tool  are  not  independent  of  each  other, 
but  the  operation  of  each  depends  upon 
the  action  of  some  other  part,  renders  this 
course  necessary  in  order  to  have  the  re- 
pairs properly  made  and  satisfaction  in  the 
operation  of  repaired  tools  guaranteed. 

Take  as  an  illustration  a Surfacing  Tool 
that  has  been  running  loose.  The  effect  in 
this  case  is  for  the  valve  box  to  hammer 
on  the  top  of  the  barrel,  defacing  both  the 
valve  box  and  the  upper  end  of  the  barrel, 
which  point  should  be,  and  must  be,  air 
tight.  If  only  the  valve  box  is  sent  in,  it 
is  useless  for  the  factory  to  grind  and  re- 
finish  the  face  which  comes  in  contact  with 
the  barrel,  as  not  having  the  barrel  to  re- 
finish  and  regrind  also,  the  condition  as 
regards  leakage  at  this  point  would  be  as 
bad,  if  not  worse  than  it  was  before. 

It  is  poor  economy  to  operate  a Pneu- 
matic Tool  as  long  as  it  will  run  or  make  a 
noise,  as  the  moment  a tool  begins  to  lose 
in  efficiency  and  cutting  power,  you  are  not 
only  using  more  air,  which  is  an  insignifi- 
cant item  comparatively  speaking,  but  you 
are  really  wasting  the  time  of  a high  priced 
man  in  operating  this  tool.  It  is  a very 
easy  matter  to  lower  a man’s  efficiency  by 
25  per  cent  in  using  a tool  that  should 
have  gone  to  the  repair  shop  some  time 
previous. 


While  this  paper  is  prepared  with  a 
view  of  touching  on  Pneumatic  Tools  only 
we  have  seen  so  many  instances  of  bad 
practice  in  regard  to  the  installation  and 
operation  of  Air  Compressors  that  we  feel 
that  a few  words  will  not  be  out  of  place. 

We  urgently  recommend  that  in  all 
plants  particular  attention  be  paid  to  the 
suction  of  the  air  compressor.  Air  should 
never  be  taken  from  a room  where  stone 
cutting  is  being  done  as  the  air  is  filled 
with  fine  particles  of  grit,  which  are,  in 
cases  of  this  kind,  constantly  drawn  into 
the  Compressor  and  forced  through  the 
tools,  with  a consequent  continuous  grind- 
ing and  cutting  action.  The  ideal  arrange- 
ment for  a compressor  suction  pipe  is  to 
run  it  out  through  the  roof  of  the  shed 
and  enclose  the  end  of  it  in  a frame  work 
two  or  three  feet  square  covered  with  a 
couple  of  thicknesses  of  fine  muslin. 

When  the  plant  is  being  installed,  noth- 
ing but  new  clean  pipe  should  be  used  for 
conveying  air  to  the  tools.  Every  piece  of 
pipe  should  be  stood  on  end  and  ham- 
mered to  jar  loose  any  scale  that  may  be 
on  the  inside,  and  every  fitting  should  be 
inspected  to  see  that  it  is  perfectly  clean. 
If  old  rusty  pipes  and  fittings  are  used  you 
will  have  endless  trouble  and  annoyance 
from  dirt  and  scale  coming  through  the 
pipes  and  hose  to  your  tools.  These  pre- 
cautions will  give  a supply  of  cool,  clean 
air,  and  the  effective  working  of  the  plant 
will  be  increased  100  per  cent  over  what  it 
will  be  if  installed  and  operated  in  the 
slipshod,  slovenly  manner  that  many  plants 
are.  John  J.  Walsh. 


INSTALLING  A POLISHING  MILL. 


We  are  thinking  of  putting  in  a polish- 
ing mill  and  there  are  several  things  we 
would  like  to  know  about  it  before  we 
place  the  order  for  one,  and  it  occurred 
to  us  that  you  might  be  able  to  get  it  for 
us  through  your  Asked  and  Answered  de- 
partment. We  will,  of  course,  get  an  ex- 
perienced man  to  run  the  mill  when  we 
get  it  in,  but  we  want  to  know  something 
about  the  amount  of  supplies  to  order  and 
what  kind  most  polishers  use ; the  size  of 
machine  most  satisfactory,  and  so  on.  If 
you  will  answer  the  following  questions 
for  us  we  will  appreciate  it  very  much : 

How  large  a gasoline  engine  would  it 
take  to  run  a polishing  machine  using  an 
18-inch  scroll  wheel?  How  much  surface 
would  a machine  of  this  size  polish  in  a 
week  running  ten  hours  a day  on  Barre 
granite  that  had  been  properly  hand  point- 
ed and  had  no  holes  or  lifts  to  be  ground 
out?  What  kind  of  abrasive  works  the 
stone  fastest  and  how  much  would  it  take 
to  polish  a bed  that  contained  20  square 
feet?  How  much  putty  powder  would  it 
take  for  a bed  of  this  size?  Is  it  best  to 
run  belt  direct  from  engine  to  polisher  or 
should  there  be  a line  shaft  put  in?  Which 
kind  of  machine  will  give  the  best  satis- 
faction, one  with  a bevel  gear  at  the  top 
and  drive  pulley  lying  down,  or  one  with 
the  drive  pulley  standing  up?  What  is  the 
probable  life  of  a polishing  machine  that 
is  well  cared  for? — S.  H.,  Mo. 

Using  the  ordinary  polishing  machine, 
such  as  our  “Carborundum”  polisher, 
equipped  with  18-inch  scroll,  requires  about 
12  horsepower  to  operate  it  satisfactorily, 
but  if  we  were  to  equip  it  with  a gasoline 
engine  we  would  use  a 15  horsepower,  as 
you  v/ill  readily  understand  a gasoline  en- 
gine cannot  well  be  overloaded. 

This  machine  would  average  to  finish 
six  feet  per  hour  on  the  harder  granites 
and  seven  feet  per  hour  on  the  softer 
granites.  For  further  grinding  the  sur- 
face, after  it  has  been  axed  or  sawed,  re- 
quires No.  3 chilled  shot.  After  this, 
finer  grains  of  emery  or  carborundum  are 
used  to  prepare  them  for  the  final  putty 
gloss. 

It  is  better  to  run  the  belt  direct  from 
the  engine  to  a countershaft  with  beveled 
gears  connecting  with  the  top  of  the  ver- 
tical shaft  of  the  polishing  machine. 

The  life  of  a polishing  machine  is  prac- 
tically unlimited,  unless  it  is  destroyed  by 
fire  or  by  breakage,  for  all  the  bearings 


have  removable  bushings  and  these  can  be 
replaced  at  a very  slight  expense,  thus 
making  the  polishing  machine  practically 
new.  Properly  used,  the  frame  itself 
should  never  wear  out.  Of  course,  the 
grinding  wheels  and  polishing  heads  are  a 
separate  matter  and  are  made  to  wear. 

The  following  figures  on  the  amount  of 
material  per  superficial  foot  are  based  upon 
polishing  about  9,000  square  feet  of  Mass- 
achusetts granite.  The  beds  are  made  up 
large  and  small,  so  that  if  you  wish  to 
figure  on  polishing  a bed  of  20  square  feet 
the  amount  would  be  somewhat  in  excess 
of  the  following:  Shot,  M lb.  per  square 

foot ; carborundum,  lb.  per  square  foot ; 
iron,  *4  lb.  per  square  foot ; putty  pow- 
der, .015  lb.  per  square  foot ; emery,  .003 
lb.  per  square  foot. 

F.  R.  Patch  Mfg.  Co. 

A. polisher  might  run  an  18-inch  scroll 
on  a large-sized  polishing  machine  or  he 
might  use  it  on  a small-sized  machine.  The 
horsepowrer  to  run  this  polisher  with  an 
18-inch  wheel  depends  considerably  on  the 
weight  of  the  polishing  machine  and  wheth- 
er the  weight  of  the  wheels  and  scroll  is 
run  down  hard  on  the  bed.  We  would 
estimate  that  a 10-horsepower  engine  would 
be  run  to  better  advantage  than  one  of 
less  power. 

Again,  the  amount  of  polishing  mate- 
rial and  time  depends  considerably  on  the 
ability  of  the  polisher.  A good  polisher 
should  turn  out  a bed  of  from  20  to  40 
feet  of  polished  work  every  eight  hours. 
The  difference  in  material  used  on  a bed 
of  40  feet  would  be  but  little  more  than 
one  of  20  feet.  A 20-foot  bed  would  av- 
erage 25  lbs.  of  No.  3 Globe  shot,  5 lbs. 
of  No.  80  Crystolon,  and  y2  lb.  Barre  putty. 

By  all  means  we  would  suggest  a gear 
top,  so  as  to  do  away  with  all  the  shaft- 
ing possible,  and  run  the  belt  as  straight 
as  possible.  With  a tight  and  loose  pulley 
we  believe  it  would  be  best  to  connect  en- 
gine direct. 

With  proper  care  the  life  of  a polishing 
machine  is  indefinite,  as  the  only  places 
that  wear  can  be  easily  replaced  at  a small 
cost.  Our  estimate  here  is  in  accordance 
with  the  general  run  of  wheels  in  this  sec- 
tion, but  the  amount  of  polishing  material 
and  time  depends  much  on  the  ability  of 
the  polisher.  Quality  of  work  will  have 
much  to  do  with  the  time  required. 

A polishing  wheel  with  an  18-inch  scroll 
can  be  run  on  much  less  than  10  horse- 


116 


MONUMENT  DEALER’S  MANUAL 


power,  but  under  the  proper  pressure  in 
ironing  and  grinding  a bed  you  will  find 
that  the  extra  power  is  economy. 

Deming  Hardware  Co. 

I cannot  tell  you  how  large  a gasoline 
engine  it  would  take,  but  there  should  be 
at  least  five  horsepower  with  the  engine. 

I cannot  tell  you  how  much  a machine  of , 
this  size  would  polish  in  a week ; it  would 
depend  largely  on  the  man  and  the  condi- 
tion of  the  stone.  What  this  man  would 
want  in  the  way  of  abrasives  would  be 
Mowat’s  No.  3 iron  and  No.  80  carborun- 
dum, and  it  would  require  40  ounces  of 
carborundum  to  do  20  square  feet.  Mar- 
velous putty  powder  is  over  99  per  cent 
pure  tin,  and  a couple  of  ounces  of  this 
putty  would  be  sufficient.  It  is  better  to 
run  the  belt  direct  from  the  engine  to  the 
polisher.  If  he  has  shafts  and  pulleys,  it 
requires  power  to  run  them.  I do  not 
know  that  there  is  any  difference  in  a ma- 
chine with  a bevel  gear  on  the  top  or 
whether  it  is  lying  down  or  standing  up. 
With  the  amount  of  work  this  man  antici- 
pates doing,  the  life  of  the  machine  would 
be  ten  or  fifteen  years. 

R.  C.  Bowers  Granite  Co. 

The  information  called  for  is  somewhat 
indefinite  and  uncertain,  owing  to  the  con- 
ditions in  one  locality,  or  one  yard,  being 
entirely  different  from  that  in  another  lo- 
cality or  yard.  Furthermore,  the  kind  of 
stone  has  everything  to  do  with  the  re- 
sults, besides  the  ability  of  the  operator 
and  many  other  conditions  over  which  we 
have  no  control,  so  that  any  recommenda- 
tions made  are  subject  to  all  kinds  of  cor- 
rection, depending  upon  actual  working 
conditions. 

For  ordinary  work  it  can  be  estimated 
that  a 10-horsepower  machine  is  abso- 
lutely sufficient  to  handle  a granite  ma- 
chine with  an  18-inch  scroll  wheel,  but 
this  also  depends  largely  on  the  weight  of 
the  polishing  machine  and  whether  the 
weight  of  the  wheel  and  the  scroll  itself  is 
run  down  hard  on  the  bed.  The  amount 
of  polishing  material  and  time  depends  so 
much  on  the  ability  of  the  polisher.  It  is 
safe  to  estimate  that  a good  polisher 
should  turn  out  a bed  of  30  to  40  feet  of 
polished  work  every  eight  hours,  and  in 


some  instances  it  is  possible  to  figure  on 
even  as  high  as  a bed  of  50  feet. 

The  difference  of  material  used  on  a 40- 
foot  bed  is  a little  more  than  one  of  20 
feet.  We  believe  that  an  average  of  25 
lbs.  of  No.  3 Globe  shot,  5 lbs.  of  No.  80 
Crystolon  and  lb.  of  Barre  putty  is  am- 
ple for  a 20-foot  bed. 

There  is  quite  a difference  of  opinion  as 
to  the  use  of  the  bevel-gear  drive,  al- 
though most  concerns  in  the  Barre  district 
prefer  same.  In  some  instances,  motors 
are  belted  direct  to  the  rear  driving  shaft 
on  the  machine  by  means  of  a quarter  twist 
belt.  In  this  event  it  is  wise  to  have  tight 
and  loose  pulleys,  so  that  the  motor  can 
be  gotten  up  to  full  speed  before  starting 
the  machine.  In  many  cases  it  is  found 
desirable  to  use  a counter  shaft,  which 
gives,  perhaps,  better  opportunity  for  re- 
ducing speeds  when  using  motor  drive.  In 
case  of  a gasoline  engine  drive  it  is  pos- 
sible that  the  direct  connection  is  best 
through  a medium  of  a bevel-gear  drive 
with  tight  and  loose  pulleys  on  the  bevel- 
gear  counter  shaft. 

The  life  of  a machine,  with  proper  care, 
is  practically  indefinite,  as  the  wearing 
parts  can  easily  be  replaced  at  a small  cost, 
the  wear  coming  in  the  bearings,  which 
are  provided  with  renewable  bushings, 
making  the  rest  of  the  machine  as  good 
as  new  unless  it  meets  with  some  accident. 

Lincoln  Iron  Works. 

For  a small  polishing  machine  to  oper- 
ate on  18  to  20-inch  scroll  you  would  re- 
quire a 5-horsepower  gasoline  engine.  An 
18-inch  scroll  would  polish  about  15  feet  in 
ten  hours,  and  in  doing  this  amount  of 
work  it  would  consume  about  8 lbs.  of  No. 
?>y2  shot,  3 lbs.  of  carbolon  and  14  lb.  of 
white  putty  powder.  It  would  be  necessary 
to  put  in  counter  shaft  in  order  to  cut 
down  speed  between  engine  and  polishing- 
machine.  The  proper  speed  for  scroll  of 
this  size  would  be  about  200  R.  P.  M. 
Tight  and  loose  pulley  on  back  shaft  of 
machine  would  be  preferable.  Gears  we 
do  not  recommend  for  small  machines.  A 
machine  of  this  type  will  outlast  a gener- 
ation if  properly  cared  for.  We  recom- 
mend the  Wright  broken  scroll  ironing 
wheels.  Cooley- Wright  Meg.  Co. 


PLASTER  CAST  FROM  LIFE. 


“Will  you  please  give  me  the  best  method 
of  taking  a cast  off  the  face  of  a liv- 
ing person  so  that  it  can  be  used  as  a mold 
to  make  a plaster  cast  from?” — L.  E.,  Pa. 

There  are  many  ways  in  which  this  can 
be  done.  There  are  a few  precautions 
which  must  he  taken  in  order  to  prevent 
injury  to  the  subject  from  whom  the  mold 
is  made.  A towel  should  be  carefully  tied 
over  the  hair.  Small  wads  of  cotton 
should  be  placed  in  each  ear.  The  skin 
should  be  rubbed  with  olive  oil  or  vase- 
line. The  subject  should  lie  down  on  his 
hack.  There  should  be  no  conversation 
carried  on  during  the  process  of  making 
the  mold,  as  this  would  destroy  the  cast. 
The  eyebrows  or  mustache  or  beard  could 
be  filled  with  lather  or  vaseline;  I would 
suggest  vaseline  for  eyebrows  and  soap 
lather  for  mustache  or  beard.  Pieces  of 
tissue  paper  covered  with  vaseline  should 
be  placed  over  the  eyes.  Quills  or  straws 
should  be  placed  in  the  nose  and  any  re- 
maining space  filled  with  vaseline ; or  some 
people  think  it  more  successful  not  to  put 
anything  in  the  nose,  in  which  case  all  the 
face  is  covered  except  the  nose,  and  the 
subject  inhales  a deep  breath  and  the  plas- 
ter is  then  thrown  over  the  nose.  When  the 
subject  has  held  his  breath  as  long  as  pos- 
sible he  blows  out  hard  through  his  nose, 
blowing  the  plaster  out  of  the  nostrils, 
after  which  he  is  able  to  breathe,  provided 
the  caster  does  not  put  any  more  plaster 
over  the  openings.  It  is  good  to  use  warm 
water  in  mixing  the  plaster  so  that  it  will 
set  quickly.  In  making  ready  for  the  work, 
one  should  have  a strong  thread,  in  the 
event  that  the  ears  are  to  be  cast;  as  soon 
as  a light  layer  of  plaster  is  thrown  over 
the  face  the  thread  is  dipped  in  the  plaster 
and  laid  between  the  eyes,  down  along  the 
nose,  over  the  end  of  the  chin.  When  the 
plaster  has  been  built  on  from  inch  to 
V2  inch  it  should  be  watched  closely,  and 
the  moment  it  begins  to  stiffen  he  should 
take  hold  of  the  thread  and  pull  it  up- 
wards, thus  cutting  the  plaster  while  it  is 
still  soft,  making  the  cast  in  two  divisions. 
The  moment  the  plaster  has  set  and  begins 
to  get  warm  it  should  be  immediately  re- 
moved. 

It  is  to  be  assumed  that  whoever  per- 
forms this  operation  has  had  some  ex- 
perience in  casting;  otherwise  they  should 
not  undertake  to  do  the  work.  The  most 
painful  part  is  that  when  the  hairs  get  set 
in  the  plaster,  it  becomes  necessary  in 


removing  the  mold  to  pull  out  a few. 
Hence  the  reason  for  double  precaution  in 
providing  against  this  possibility. 

Frederick  C.  Hibbard. 

* * * 

In  the  work,  “Plaster  Casts  and  How 
They  Are  Made,”  by  F.  F.  Frederick,  a 
chapter  is  devoted  to  “Casting  from  Life,” 
from  which  we  quote  as  follows  : 

“For  a first  exercise  in  casting  from  life 
a hand  upon  a background  is  suggested. 
As  the  work  from  life  is  unlike  that  from 
inanimate  objects  the  first  problem  should 
be  simplified  as  much  as  possible.  Let  the 
hand  be  closed,  the  thumb  held  against  the 
first  finger,  and  placed  upon  a soft  back- 
ground, that  there  may  be  little  under- 
cutting. For  the  background  use  several 
thicknesses  of  cloth  or  a pillow. 

“Roll  up  the  sleeve  and  wind  a hand- 
kerchief or  towel  about  the  wrist  or  arm 
at  the  desired  distance  from  the  hand. 
With  the  fingers  rub  a little  sweet  oil  over 
those  parts  of  the  hand  that  will  come  in 
contact  with  the  plaster.  Hold  the  hand 
between  the  eye  and  the  light  and  if  hair 
can  be  seen  it  must  be  made  to  lie  flat  upon 
the  skin,  as  it  would  otherwise  be  pulled 
out  when  the  mould  is  removed — a sensa- 
tion which  is  said  to  be  unpleasant.  If  the 
oil  has  not  body  enough  to  do  this  a little 
vaseline  or  lard  can  be  used,  or,  as  a last 
resort,  the  hair  can  be  shaved  off.  For  the 
comfort  of  the  person  operated  upon,  mix 
the  plaster  with  lukewarm  water.  Put  a 
spoonful  upon  the  knuckles  and  as  it  runs 
down  blow  it  well  into  the  spaces  between 
the  fingers.  Continue  with  the  spoon — do 
not  pour  the  plaster  upon  the  hand  from 
the  bowl.  No  wall  will  be  necessary,  for 
if  the  plaster  is  of  the  right  consistency  it 
will  flow  but  little  beyond  the  hand. 

“Amateurs  almost  invariably  make 
molds  from  life  too  heavy  in  their  anxiety 
to  have  them  strong  enough.  When  the 
mold  is  of  sufficient  thickness  the  hand 
must  be  kept  perfectly  still  until  the  plas- 
ter grows  warm  in  the  process  of  setting. 
When  the  plaster  grows  cooler,  in  fifteen 
or  twenty  minutes  from  the  time  it  is  first 
put  on,  the  hand  with  its  covering  of  plas- 
ter can  be  turned  over  and  the  cloth  pulled 
off.  Any  plaster  which  may  have  run  under 
the  hand  can  be  broken  or  cut  off  and  the 
hand  easily  removed,  providing  it  has  been 
properly  oiled. 

“As  it  is  very  important  that  the  delicate 
texture  of  the  skin  be  preserved,  the  cast 


ns 


MONUMENT  DEALER’S  MANUAL 


should  be  made  immediately.  Fill  the 
mold  with  water  and  prepare  four  strips 
of  clay  with  which  to  build  a wall  upon 
the  background.  Or,  the  plaster  being  soft, 
cut  the  background  to  any  desired  shape 
and  prepare  a wall  of  folded  paper,  which 
should  extend  about  one  inch  above  the 
background.  Take  the  mold  from  the 
water  and  place  the  wall,  filling,  of  course, 
the  open  end  of  the  mold.  The  moment 
there  is  no  standing  water  in  the  mold  it 
can  be  filled.  If  the  plaster  is  not  fresh 
it  will  be  necessary  to  use  an  oil  separa- 
tion. With  a very  soft  camel’s  hair  brush, 
go  over  the  mold  as  soon  as  the  surface 
is  free  from  water,  using  the  smallest  pos- 
sible amount  of  sweet  oil. 

“If  the  skin  is  free  from  hair  and  it  is 
not  desirable  to  preserve  its  texture,  dry 
plaster  can  be  sprinkled  over  the  surface 
which  is  to  be  molded  to  serve  as  a sep- 
aration. 

“A  pleasing  variety  in  the  background 
may  be  obtained  by  using  cloths  of  differ- 
ent textures ; and  accessories,  as  a coin  in 
the  hands,  a hand  holding  a fan,  lace  at  the 
wrist,  etc.,  add  greatly  to  the  interest. 

“It  is  surprising  the  small  space  through 
which  a hand  can  be  taken,  and  this,  to- 
gether with  the  infinite  variety  of  possible 
positions,  makes  casting  hands  from  life  a 
very  enjoyable  occupation. 

“Any  part,  or  the  whole  figure  can  be 
molded  in  this  manner,  and  casts  so  made 
are  of  great  assistance  to  the  sculptor. 

“Hands  can  be  cast  in  the  round  by 
either  of  the  methods  described  elsewhere. 
Of  course,  in  the  first  method,  the  mold 
will  be  filled  through  the  wrist,  not  through 
a hole  made  in  the  mold  of  the  hand.  The 
line  of  division  between  the  two  parts  of 
the  mold  should  come  across  the  knuckles 
or  in  as  inconspicuous  places  as  possible. 
If  the  second  method  is  used,  the  hand 
should  be  dipped  several  times  into  the 
plaster,  forming  a layer  about  Vs  inch  in 
thickness.  Hold  the  hand  over  the  bowl, 
by  resting  the  elbow  upon  the  table  or 
upon  a box,  with  the  fingers  higher  than 
the  wrist,  that  the  plaster  may  run  down 
upon  the  wrist  and  make  this  the  heavi- 
est part  of  the  mold.  The  fingers  in  the 
cast  are  very  likely  to  be  broken  by  the 
weight  of  the  plaster  forming  the  mold — 
hence  the  necessity  of  a thin  mold. 

“If  the  hand  is  closed,  as  described,  the 
thread  will  be  placed  upon  the  wrist,  along 
the  thumb,  over  the  end  of  the  thumb, 


across  the  knuckles  of  the  four  fingers, 
from  the  little  finger  to  the  side  of  the 
hand,  and  returned  to  the  wrist.  If  the 
fingers  are  extended  the  thread  would  pass 
across  their  tips.  If  the  hand  is  partly 
closed,  or  is  holding  something,  two  or 
more  threads  may  be  necessary  to  so  di- 
vide the  mold  that  the  hand  can  be  taken 
out.  If  the  mold  breaks  it  can  be  repaired 
with  glue,  and  if  no  great  pressure  is 
brought  to  bear  against  it,  will  hold  to- 
gether long  enough  to  secure  a cast. 

“Piece  molds  from  life  can  be  made  in 
much  the  same  way  as  from  casts.  No 
walls  will  be  necessary,  for  with  skillful 
manipulation  the  plaster  can  be  made  to 
stay  where  desired. 

“To  mold  hands,  feet,  etc.,  from  life  is 
a comparatively  simple  matter,  but  to 
mold  the  living  face  is  a more  elaborate 
piece  of  work.  It  is  disagreeable  for  the 
person  operated  upon  and  may  be  dan- 
gerous if  the  work  is  not  in  skillful  hands. 

“The  person  should  lie  upon  his  back 
upon  a couch  or  steamer  chair  with  a 
cushion  under  the  head.  Wrap  a towel 
about  the  neck,  close  the  eyes,  fill  the  nos- 
trils with  cotton,  and  place  a quill  or 
small  glass  tube  in  the  mouth,  or  insert 
a tube  in  one  nostril  that  the  person  may 
breathe.  Cover  the  hair,  and  especially 
the  ears,  that  the  plaster  may  not  run 
where  it  is  not  wanted.  Oil  the  skin  and 
imbed  the  eyelashes,  etc.,  in  lard  or  soap. 
Mix  the  plaster  with  warm  water,  apply 
and  remove  as  described  above. 

“Only  the  best  and  freshest  plaster  of 
paris  should  be  used  in  casting  from  life. 
Mixtures  with  lime,  etc.,  should  be  avoided. 

“Writers  differ  upon  the  value  of  the 
cast  from  the  face.  One  says : ‘The  value 
of  a plaster  cast  as  a portrait  of  the  dead 
or  living  face  cannot  for  a moment  be 
questioned.  It  must  of  necessity  be  abso- 
lutely true  to  nature.  It  cannot  flatter;  it 
cannot  caricature.  It  shows  the  subject  as 
he  was,  not  only  as  others  saw  him  in  the 
r.ctual  flesh,  but  as  he  saw  himself.’  An- 
other writer  of  equal  authority  advances 
the  opposite  opinion  : ‘And  after  all  a cast 
from  the  face  is  hard,  forced  and  unnat- 
ural in  its  character  and  impression,  how- 
ever skillfully  it  may  be  done.’” 

This  work,  which  gives  much  other  val- 
uable information  about  making  plaster 
f'asts,  is  published  by  Wm.  T.  Comstock 
Co.,  23  Warren  street,  New  York  City, 
and  may  be  purchased  for  $1.50. 


ROCK-FACED  WORK— ITS  USE  AND  ABUSE. 


The  following  symposium  on  the  ques- 
tion of  rock-faced  work  in  cemetery  me- 
morials covers  the  subject  quite  compre- 
hensively, and  is  at  the  same  time  both 
interesting  and  instructive.  A careful 
reading  will  disclose  the  fact  that  the  use 
of  this  particular  class  of  finish  is  con- 
fined largely  to  the  smaller  monuments. 
Architectural  designs,  of  acceptable  merit, 
do  not,  as  a rule,  permit  of  this  kind  of 
work.  It  may  be  considered  as  an  evolu- 
tion of  the  rough  boulder  monument  so 
freely  used  where  rugged  and  simple  ef- 
fects are  sought,  but  it  has,  unfortunately, 
in  many  cases  been  made  to  serve  as  an 
excuse  for  paucity  of  design  and  mate- 
rial. And  yet,  as  the  subjoined  communi- 
cations show,  it  has  its  friends.  Its  pur- 
pose, when  used  to  impart  ruggedness  and 
dignity,  is  a legitimate  one,  but  in  the 
smaller  monuments  it  has  undoubtedly  been 
carried  to  excess.  One  point  has  been 
overlooked  in  the  discussion,  and  that  is 
the  inferior  way  in  which  the  work  is  ex- 
ecuted in  so  many  instances.  Rock-faced 
work  should  carry  with  it  the  idea  of 
naturalness,  yet  certainly,  in  perhaps  seven 
cases  out  of  ten  of  existing  memorials,  the 
rock  face  has  a disastrously  artificial  ap- 
pearance, not  only  in  the  design  of  the 
rock  face  irregularities  of  surface,  but  in 
the  frequent  reminders  of  the  skill  exer- 
cised and  expedients  adopted  to  remove 
the  tool  marks.  The  views  hereafter  ex- 
pressed should  give  a better  understand- 
ing of  the  question  and  suggest  to  the  in- 
telligent dealer  a middle  way. 

* * * 

I take  pleasure  in  noting  some  points  in 
regard  to  rock-faced  work,  assuming  that 
you  mean  the  use  of  broken  surfaces  on 
ordinary  designs  in  place  of  hammered 
work.  I recommend  the  use  of  rock-faced 
work  in  moderation,  for  the  variety  it  af- 
fords in  finish,  form  and  color,  whether 
in  the  different  parts  of  a monument,  or 
contrasted  in  monuments  with  and  with- 
out such  treatment. 

It  is  evident  that  contrast  is  desirable 
and  rock  face  properly  distributed  may  be 
considered  as  an  ornament— the  contrast 
with  plain  work  being  the  principal  func- 
tion of  ornament.  Either  the  amount  of 
rock-faced  work  or  of  hammered  work 
should  predominate,  and  the  intention 
should  be  apparent  in  the  design. 

This  broken  work  is  more  effective  in 
designs  above  the  average  size,  as  it  al- 


lows of  a bolder  and  freer  treatment  than 
in  smaller  designs,  in  which  it  looks  less 
natural  on  account  of  the  number  of  small 
breaks  required  for  a finish.  This  is  no- 
ticeable in  the  strips  of  rock-faced  work 
on  a-  die  surrounding  a sunk  panel.  We 
often  see  these  strips  a mere  riband  three 
or  four  inches  wide.  We  find  the  same 
weakness  in  attempts  to  make  a sunken 
panel  on  a name  base,  the  remaining  sur- 
face looking  very  scanty.  It  is  best  to 
plan  for  wider  bands  or  to  omit  them  en- 
tirely. A rock-faced  monument  is  more 
satisfactory  with  the  roof  and  other 
washes  hammered,  if  only  for  the  sug- 
gestion of  cleanliness  it  gives. 

So,  then,  let  your  broken  surface  be 
proportioned  to  the  hammered  work,  ef- 
fectively distributed,  and  never  narrow  or 
stringy  in  appearance.  The  breakages 
should  be  bold  and  simple,  without  too 
prominent  raises  or  sinkages,  avoiding 
at  the  same  time  the  monotonous  regular- 
ity of  sea  waves.  The  workman  to  do 
this  to  the  best  advantage  should  have  in 
his  mind  some  conception  of  the  finish  he 
wants,  and  be  able  to  appreciate  and  take 
advantage  of  the  accidental  breakages. 

Its  use  in  connection  with  carved  work 
should  be  limited,  as  they  rarely  enhance 
and  sometimes  conflict  with  each  other. 
Good  carved  work  suggests  refinement, 
and  a hammered  ground  is  more  suitable 
for  it.  A hammered  cross  looks  well  sup- 
ported on  a rough  base,  but  usually  rock 
face  is  not  at  home  with  a good  archi- 
tectural piece  of  work.  Some  examples 
of  carving  with  rough  background  are 
creditable  for  novelty  and  expertness,  but 
it  is  safe  to  say  that  carving  looks  best 
with  a tooled  or  hammered  background. 
If  ornamental  carving  is  used  with  a 
rough  surface,  it  should  be  in  panels  or 
borders,  and  separated  by  moldings. 

There  is  another  class  of  rock  work  in 
which  are  included  stones  not  squared  to 
dimensions,  such  as  rustic  crosses  and 
boulders,  with  or  without  natural  carving. 
These  should  be  considered  differently  and 
by  themselves 

Alfred  H.  Combk. 

The  views  are  so  varied  as  to  the  utility 
of  rock-faced  work  that  the  opinion  of  one 
person  would  scarcely  be  accepted  as  a 
final  verdict  for  or  against,  therefore  your 
idea  of  a symposium  upon  the  subject  is 
well  taken,  and  I doubt  not  but  that  able 
opinions  will  be  expressed  pro  and  con, 


120 


MONUMENT  DEALER’S  MANUAL 


settling  for  all  time  the  fate  of  the  class 
of  work  under  discussion. 

For  myself,  I will  say  that  in  the  main 
I am  opposed  to  rock-faced  work,  except- 
ing under  certain  conditions,  where  effect 
is  required  which  can  be  obtained  in  no 
other  way. 

Of  course,  the  design  should  be  appro- 
priate and  susceptible  to  the  rock-faced 
treatment,  otherwise  the  critical  eye  will 
look  upon  the  creation  with  abhorrence, 
and  a large  measure  of  condemnation  for 
the  architect  will  escape  his  lips.  There- 
fore, if  the  design  is  appropriate,  rock 
face  is  admissible,  otherwise  it  should 
never  be  attempted. 

Mausoleums,  properly  designed  for  rock- 
face  finish,  look  dignified  and  substantial, 
but  the  major  part  of  those  persons  in 
quest  of  memorial  buildings  are  not  in  fa- 
vor of  rock-faced  work,  the  reason  perhaps 
being  that  the  air  of  elegance  and  beauty 
of  lines  cannot  be  obtained.  A very  good 
reason,  indeed,  for  who  ever  saw  a beau- 
tiful building  (or  monument)  projected 
on  the  rock-faced  order? 

The  mode  does  not  come  within  the 
purview  of  art.  It  cannot  be  treated  or 
helped  on  toward  anything  other  than 
“just  what  it  is” — a mass  of  rough  stones, 
answering  a purpose  only,  with  no  hope  of 
improvement,  no  advance,  and  generally 
barred  by  those  of  good  taste  and  educa- 
tion. 

To  rock  face  for  small  work  I am  un- 
alterably opposed,  and,  for  that  matter, 
always  have  been,  and  I hold  my  reasons 
to  be  indisputable,  viz. : First.  The  un- 
sightly designs  (so-called).  Second. 
Duplication  to  an  unlimited  number.  Third. 
The  inferior  grades  of  granite  shoved  on- 
to customers.  Fourth.  The  inferior  ef- 
fect it  lends  to  a cemetery.  Fifth,  and 
finally,  the  complete  destruction  of  those 
elevated  ideas  in  monumetnal  art,  so 
greatly  to  be  wished  for. 

A rough  block  of  granite  will  not  edu- 
cate (only  in  geology),  while  a finely-fin- 
ished Corinthian  column  will,  as  it  ap- 
peals directly  to  the  finer  tastes,  and 
strengthens  the  love  for  the  beautiful. 

I will  point  out  that  one  (if  not  more) 
of  the  leading  cemeteries  of  the  United 
States  has  pronounced  against  rock-faced 
work,  for  various  reasons,  some  of  which 
might  be  classed  among  those  given  above. 
This  action  will  go  a long  way  toward  its 
decline. 

To  sum  up,  it  should  be  used  only  in 
thoroughly  appropriate  designs,  and  its 


use  is  perceptibly  declining.  It  may,  in 
some  instances,  be  combined  with  orna- 
mental carving,  but  generally  speaking  has 
a cheap  effect.  It  should  be  absolutely  dis- 
carded, except  as  mentioned  above. 

You  have  my  opinion,  and  when  I say 
that  I have  written  a contract  for  but  one 
rock-faced  monument  in  the  past  forty 
years,  you  will  appreciate  the  strength  of 
my  opposition.  Geo.  A.  Douglas. 

We  recommend  rock-faced  work  to  a 
limited  extent,  where  a purchaser  has  tired 
of  seeing  a large  variety  of  memorials 
having  fine  hammered  surfaces  and  mem- 
bers, and  prefers  to  show  something  rugged 
and  dignified  as  a sharp  contrast  to  sur- 
rounding memorial  objects.  We  also 
recommend  this  treatment  for  battlefield 
memorials,  where  dignity  and  rugged  ef- 
fects are  sought  after,  that  seem  in  keep- 
ing with  the  object  of  the  memorial. 

We  think  the  sale  of  this  class  of  work 
has  reached  its  highest  mark,  and  that 
there  will  be  a marked  decrease  in  the  de- 
mand for  rough  quarry  face  memorials,  at 
least,  in  our  public  cemeteries.  We  note 
that  in  memorial  work,  like  the  majority 
of  other  branches  of  business,  which  ad- 
mit of  a large  range  of  designs  and  treat- 
ments, that  the  pendulum  of  trade  swings 
from  one  extreme  to  the  other.  We  be- 
lieve the  pendulum  for  rough  quarry  face 
work  will  now  swing  backward  again  for 
a few  years. 

It  can  be  combined  with  ornamental 
carving  to  a limited  extent,  but  great  care 
should  be  exercised  in  combining  the  or- 
namental features  with  the  rustic  effects. 
Oddity  does  ndt  necessarily  mean  beauty. 

We  do  not  know  of  any  objectionable 
features  of  this  class  of  work. 

W.  B.  Van  Amringe. 

Rock  face,  in  our  opinion,  should  be  used 
very  sparingly,  and  then  only  when  the 
treatment  of  the  architecture  is  in  har- 
mony. 

Would  judge  that  it  is  increasing  from 
the  latest  examples  in  the  cemeteries.  From 
all  refined  designs  it  should  be  wholly 
eliminated. 

The  treatment  of  rock-faced  work,  with 
ornamental  carving  is  very  well  and  har- 
moniously blended  in  examples  of  Roman- 
esque and  Gothic  architecture,  as  the  bold- 
ness of  the  rock  face  necessitates  a corre- 
sponding boldness  in  the  lines  of  the  carv- 
ing, and  pleasing  results  are  always  ob- 
tained when  the  subject  is  handled  by  a 
practiced  designer.  Otherwise,  absurd 
effects  and  repelling  lines  make  the  treat- 


MONUMENT  DEALER’S  MANUAL 


121 


nient  destructive  of  the  whole  conception. 

The  objectionable  features  of  this  class 
of  work  are  its  indiscriminate  use,  most 
of  it  being  overdone,  giving  a mass  of 
boulder  effect,  and  from  its  being  a dirt 
catcher,  leaving  a streaked  appearance  on 
the  rock,  which  is  marring  to  the  stone  and 
the  design. 

It  is  used  to  best  advantage  in  treatment 
of  the  Gothic  and  Romanesque  architec- 
ture, in  which  free  latitude  is  given  the 
designer.  It  is  characteristic  of  these 
styles,  which  should  be  rugged  and  bold  in 
the  lower  sections  and  tapering  to  more 
refined  lines  as  the  top  is  reached.  It  is 
essentially  detrimental  to  classic  designs, 
being  incongruous  with  the  lines  of  grace 
and  beauty  which  these  styles  demand. 

Jos.  Pajeau  & Son. 

Rock  face  work  depends  upon  several 
conditions,  and  perhaps  a few  hints  ex- 
pressed in  a crude  way  may  be  of  service 
to  the  trade  if  heeded  by  all  parties  con- 
cerned. In  our  estimation  rock  face  and 
boulder  work  offer  unlimited  chances  to 
bring  out  features  of  beauty  and  real  worth 
from  an  artistic  point  of  view,  as  well  as 
to  give  the  man  who  has  an  original  idea 
of  real  good  taste  an  opportunity  to  make 
a dollar. 

The  constant  cut,  cut,  cut,  of  stock  work 
is  making  finished  work  a harder  propo- 
sition (to  find  any  margin  left  as  to 
profit)  for  all  parties  concerned,  year  by 
year. 

The  cause  of  this  is  patent  to  all.  The 
very  fact  that  so  many  people  are  con- 
stantly liguring  this  work  and  cutting  it 
cheaper  day  by  day  is  alone  enough  to  put 
the  salesman  where  he  does  not  know  how 
to  figure  to  make  a dollar  for  fear  the  man 
on  the  next  train  has  a lower  price  from 
some  manufacturer  on  the  same  job.  Well, 
then,  why  not  use  more  stuff  that  every- 
body does  not  figure  every  day  in  the  year, 
and  at  the  same  time  give  a man  who  is 
possessed  of  good  taste  the  “Something 
for  Knowing  How”  that  he  should  get. 

Every  day  men  grow  richer  and  the  very 
spirit  of  competition  ingrained  into  the 
millionaire  and  multimillionaire’s  disposi- 
tion by  the  acquirement  of  his  wealth  will 
make  him  buy  a high  class  piece  of  art  if 
only  to  beat  his  competitor  on  the  same 
line  of  purchase. 

The  day  is  not  far  distant  when,  as  in 
all  other  lines,  the  machine  will  be  made  to 
cut  granite,  and  cut  it  dirt  cheap  at  that. 
It  may  not  be  for  10  years,  and  it  is  likely 
to  be  tomorrow.  When  that  time  comes 


the  man  without  ideas  of  fine  art  will  be 
simply  part  of  the  history  of  the  industry, 
the  same  as  the  shoemaker  who  made  boots 
by  hand.  Poor  peoples  will  get  monuments 
cheaper,  but  rich  people  will  be  looking  for 
something  which  is  not  advertised  daily  at 
so  much  a dozen. 

The  real  beauty  of  rock  face  work  in- 
clines to  the  artistic  rather  than  the  me- 
chanical. It  could  and  should  be  placed 
far  above  the  class  of  work  turned  out 
under  the  hammer  and  wheel,  if  the  fol- 
lowing conditions  were  strictly  observed : 
To  begin  with,  great  care  should  be  taken 
in  the  selection  of  design  to  fit  and  har- 
monize with  not  only  the  lot,  but  the  im- 
mediate surroundings.  Use  the  various 
elevations,  approaches  and  even  the  scenery 
as  embellishments  to  the  design  rather  than 
vice  versa. 

How  often  do  you  see  a piece  of  work 
made  hideous  by  being  placed  without  re- 
gard to  the  above,  where  it  would  be  a 
thing  of  beauty  if  it  were  given  the  proper 
surroundings. 

Boulder  work  offers  an  unlimited  scope 
for  designs,  and  the  price  can  be  made  to 
suit  from  a consumer  of  moderate  means 
to  the  multimillionaire  who  considers  the 
sky  the  limit,  provided  he  gets  a piece  of 
fine  art  and  something  which  will  beat  his 
competitor. 

Often  in  a walk  through  the  woods  has 
it  occurred  to  the  writer  how  a certain  lot 
in  such  a cemetery  would  be  beautifully 
adorned  by  the  boulder  or  boulders  before 
him  after  the  skillful  hands  of  workmen 
could  be  brought  to  grasp  the  situa- 
tion like  unto  what  nature  has  done,  as  it 
seems  for  us  to  copy. 

The  opportunities  for  expensive  carving 
or  for  otherwise  imitating  such  examples 
of  nature  in  the  shapes  of  stones  and  vines, 
etc.,  as  they  grow  are  beyond  counting. 
Nature  in  all  its  beauty  has  full-sized  de- 
tail constantly  on  hand.  Make  your  price 
in  accord  with  your  design,  consider  the 
customer’s  ability  to  pay,  ask  something 
for  “knowing  how”  and  go  ahead. 

Now  as  to  rock  face  work  such  as  is 
used  mostly  at  present  and  of  which  there 
are  so  many  kinds,  what  is  more  ab- 
horrent to  the  sight  than  a big  square 
chunk  of  stone  with  a square  band  of 
square  letters  set  square  in  the  middle  of 
a square  lot? 

Change  the  idea,  if  you  will,  to  a rock 
boulder  or  boulders,  no  matter  how  shaped 
(so  long  as  you  avoid  the  everlasting 
square  and  leaving  the  work  “just  out  of 


122 


MONUMENT  DEALER'S  MANUAL 


winde,”  as  the  cutter  says).  No  matter 
how  they  may  be  set,  leave  that  to  the 
salesman,  who  knows  what  the  lot  is  like 
and  what  the  surroundings  will  do  to  make 
his  work  look  well,  and  we  guarantee  that 
each  and  every  sale  will  bring  out  better 
prices,  a new  design  and  a nearer  approach 
to  fine  art. 

Rock- faced  work  is  much  abused  by  the 
desire  to  cheapen  a design.  There  are 
two  kinds  which  look  well,  but  they  should 
not  be  given  away  simply  because  they  are 
rock-face. 

Smooth  rock-face  should  in  all  cases 
have  a clean  shoulder  and  be  chipped 
straight  on  the  same,  as  well  as  having  a 
margin  line. 

Bold  rock  should  have  ragged  lines,  and 
all  axed  work  should  be  avoided  even  to 
carving  and  lettering,  which  should  be 
rustic  as  far  as  possible,  and  avoid  all  tool 
marks  of  any  description.  If  these  sug- 
gestions were  followed  closely  the  much- 
abused  rock  face  work  would  be  a source 
of  higher  revenue  to  the  trade  and  a thing 
universally  admired  by  the  public. 

E.  E.  Craven. 

Rock-faced  work  in  all  its  variety  has 
generally  two  sides.  I think  its  applica- 
tion for  the  lower  larger  parts  of  monu- 
ments is  agreeable,  and  has  a certain  charm 
if  not  used  on  small  detail  parts.  Its  fit- 
ness depends  a great  deal  on  the  good  taste 
of  the  designer.  I believe  rock-faced  work 
will  set  off  the  upper  cut  parts  well  and 
make  it  appear  as  if  the  finer  finished 
parts  grew  out  of  the  lower  and  coarser 
elementary  work. 

For  some  memorials  rock  face  is  very 
appropriate,  and  here  in  the  Atlantic  States 
it  is  used  for  crosses  and  other  stones  fit 
for  its  use;  also  for  base  courses,  window 


trimmings  and  keystones  for  vaults.  The 
olden-time  architects  have  mostly  applied 
it  to  the  lower  lines  in  a moderate  way,  but 
I have  seen  it  used  in  our  time  above  the 
finished  Ashlers,  which  looks  ridiculous. 

R.  Fischinger. 

We  do  not  recommend  rock-faced  work, 
and  its  sale  is  not  increasing  in  this  lo- 
cality. It  should  be  combined  with  orna- 
mental carving  only  in  very  rare  instances, 
and  then  in  the  most  artistic  manner.  It  is 
used  to  best  advantage  for  foundations, 
and  in  some  cases  for  sub-bases.  Its  chief 
drawbacks  are  its  bulky,  dark  and  very 
cheap  appearance,  especially  if  placed  in  a 
first-class  cemetery  among  or  near  any 
high-class  and  artistically-carved  work. 

J.  S.  Clark. 

We  know  of  no  reason  why  rock-faced 
work  should  not  be  recommended  if  people 
admire  it,  but  we  do  not  think  the  sale  of 
this  class  of  work  is  increasing.  Orna- 
mental carving  with  rock-faced  work  is  the 
proper  treatment  for  ordinary-sized  work. 
Its  lack  of  shape  and  the  opportunities  for 
the  collection  of  dust  are  the  most  objec- 
tionable features  that  occur  to  us.  It  can 
best  be  used,  in  our  judgment,  in  large 
dimensions,  and  should  be  margined  to  give 
it  shape. 

Rosebrough  Monument  Co. 

Rock  faced  work  can  be  used  with  good 
effect  in  large  masses,  but  for  small  work 
I think  it  is  undesirable,  and  carving 
should  seldom  be  employed  on  it.  The  ten- 
dency in  using  rock-faced  work  is  to  neg- 
lect outlines  and  omit  the  great  care  which 
should  always  be  taken  to  avoid  showing 
tool  marks.  It  is  seen  to  best  advantage  in 
large  masses  and  very  simple  lines. 

C.  B.  Canfield. 


TECHNIQUE  OF  STATUE  MODELING  AND  CASTING. 


The  various  steps  by  which  a statue  is 
evolved  from  the  clay  of  the  sculptor’s 
model  to  the  final  bronze  is  a vastly  inter- 
esting process.  This  description  of  the 
process  of  making  a statue  in  the  Scientific 
American,  tells  of  the  evolution  of  a statue. 

When  the  wet  clay  is  finished  and  has  the 
lifelike  form  of  the  subject,  the  craftsman 
prepares  to  make  a mold  from  the  clay. 
This  mold  is  not  used  to  make  the  bronze 
cast,  but  is  employed  for  making  a plaster 
cast  of  the  clay.  From  this  plaster  cast, 
the  final  mold  is  made  in  which  the  bronze 
is  poured.  To  make  the  mold,  the  clay  is 
first  stuck  full  of  thin  pieces  of  tin,  for 
the  mold,  when  made  must  be  in  two  or 
more  pieces  and  some  division  between 
the  two  is  necessary.  The  strips  overlap 
and  project  six  inches  from  the  clay.  The 
clay  is  then  wet  down  and  then  covered 
with  a thin,  cream-like  plaster  of  Paris 
mixture,  which  has  been  highly  colored 
with  some  pigment ; it  makes  little  differ- 
ence what  color  it  is,  so  that  it  is  easily 
distinguished  from  white.  The  reason  for 
this  first  colored  layer  is  seen  later  on.  The 
liquid  plaster  is  sprinkled  and  thrown  on 
the  clay  statue,  the  greatest  care  being 
taken  to  cover  every  part  of  it  completely, 
and  to  have  the  liquid  penetrate  into  all 
the  folds,  crevices  and  indentations  of  the 
clay.  On  the  skill  and  care  with  which 
this  is  done  depends  the  success  of  the 
mold. 

As  soon  as  this  first  colored  layer  has 
been  finished  and  set,  it  is  built  up  to  a 
thickness  of  perhaps  an  inch  with  thicker 
plaster  of  Paris,  uncolored  this  time.  Next, 
a frame-work  of  pipes,  wood,  wire  and 
rods  is  erected  about  the  statue  in  such  a 
way  that  each  part  of  the  mold,  as  indi- 
cated by  the  division  lines  of  projecting 
tin,  has  its  own  set  of  braces.  Once  these 
are  in  place  the  making  of  the  mold  pro- 
ceeds rapidly,  with  an  assistant  mixing 
plaster  of  Paris  in  a bowl,  and  the  crafts- 
man-caster throwing  and  kneading  the  wet 
masses  onto  the  plaster  covering  t^e  clay, 
being  particular  that  the  mold  is  built  up 
the  thickest  where  the  most  strains  will 
come,  where  it  may  be  five  inches  or  more 
thick,  and  permitting  those  portions  where 
little  strain  may  come  to  remain  not  more 
than  an  inch  or  two  thick.  The  ironrods 
and  pipe  frameworks  are  well  embedded 
in  the  plaster  so  that  they  themselves,  will 
take  most  of  the  strain  when  it  becomes 
time  to  lift  or  move  parts  of  the  mold. 


When  the  caster  is  through  this  part 
of  the  work,  the  whole  is  allowed  to  dry 
or  set  for  at  least  twenty-four  hours,  and 
frequently  longer.  Next  is  the  important 
and  delicate  operation  of  removing  the 
molds  from  the  clay.  The  delicacy  of  the 
process  comes  in  because  the  molds  do 
not  always  “pull,”  that  is,  to  get  the  molds 
off,  it  is  necessary  to  break  the  clay  and 
destroy  it.  | y;  jJ 

When  the  various  pieces  of  the  plaster 
mold  are  all  removed,  they  are  cleaned 
thoroughly  of  all  clay,  washed  out  and 
finally  anointed  with  a specially  prepared 
grease  which  will  prevent  the  plaster 
which  forms  the  cast  to  be  made,  from 
sticking.  They  are  then  assembled  in 
place,  ready  for  casting.  In  a large  statue 
no  attempt  is  made  to  cast  the  whole  in 
one  piece ; the  legs  and  half  the  trunk 
form  one  piece,  the  head  and  chest  another, 
the  two  arms  are  cast  separately,  and  so 
on.  In  order  that  the  several  parts  should 
fit  one  another  accurately,  the  molds  are 
fitted  together  as  the  casts  are  made,  and 
“key  joints”  are  constructed,  the  raised  or 
“dowel”  part  of  the  key  being  formed  on 
the  first  cast  made  while  it  is  still  in  the 
mold  (and  is  covered  with  grease)  so  that 
the  second  cast  when  made  shall  form  its 
recess  or  female  part  of  the  joint,  this 
insuring  an  accurate  fit.  The  pouring  of 
the  plaster  for  the  final  cast  is  also  a 
delicate  operation.  The  plaster  must  not 
be  too  thin  or  it  will  run  away  from 
some  parts  of  the  mold  and  settle  in 
other  portions ; it  must  not  be  too  thick, 
or  it  will  not  run  into  all  parts  of  the 
mold.  The  casting  must  proceed  uninter- 
ruptedly for  each  set  of  molds,  or  it  may 
not  come  out  a homogeneous  mass.  Gen- 
erally, the.  molds,  bound  together  with 
rope  and  wire,  are  turned  about  as  the 
plaster  is  run  in,  to  be  sure  of  getting  an 
even  and  complete  casting.  The  molds 
are  not  filled  with  plaster,  as  that  would 
not  only  make  the  cast  very  heavy,  but 
give  it  an  excellent  chance  to  split  from 
strains  incident  to  hardening.  The  walls 
of  the-  plaster  cast,  like  those  of  the  mold, 
are  from  four  to  six  inches  or  more  thick, 
but  a hollow  space  is  always  left  in  the 
trunk  and  legs  and  arms  of  such  a statue, 
so  that  in  drying  there  is  plenty  of  room 
left  for  air  to  penetrate  and  get  to  both 
sides  of  the  cast.  When  the  molds  are 
all  cast,  and  the  whole  has  dried  a sufficient 
time,  comes  the  most  delicate  part  of  all — 


124 


MONUMENT  DEALER’S  MANUAL 


getting  the  molds  off  the  cast.  For  these 
will  not  pull  from  the  plaster  cast  any 
more  than  they  did  from  the  clay.  In 
this  case,  however,  it  is  not  the  cast  but  the 
molds  which  are  broken  in  removing  them, 
and  now  the  significance  of  the  colored 
layer  in  the  mold  becomes  apparent  for  it 
tells  the  caster  that  beneath  it  lies  the 
cast.  The  molds  are  taken  off  in  many 
pieces  and  thrown  away ; their  function 
finished,  what  remains  is  a plaster  cast,  ex- 
actly like  the  original  clay,  which  may  be 
shipped  away  to  the  bronze  factory  (as  the 
clay  could  not  be  shipped)  there  to  have 


molds  made  in  many  pieces  into  which  the 
bronze  is  finally  poured. 

Large  statues  take  several  days  to  cast 
both  mold  and  plaster  cast,  and  at  almost 
any  time  the  labor  of  months  may  be 
spoiled. 

The  destruction  of  the  clay  that  the 
plaster  mold  may  be  made,  the  destruc- 
tion of  the  mold  that  the  plaster  cast  may 
emerge,  like  a butterfly  from  the  cocoon, 
is  a delicate  operation,  and  one  mistake  in 
the  caster’s  art  or  one  slip  of  the  chisel  may 
mean,  if  not  destruction,  at  least  grave 
danger  to  the  success  of  the  whole. 


HOW  TO  CONSTRUCT  A SUN  DIAL. 


While  much  has  been  written  on  sun 
dials  it  has  not  usually  been  in  such  a vein 
as  to  set  forth  their  usefulness  to  the 
ordinary  intelligence,  nor  the  simplicity  of 
their  construction  and  setting  up.  The  im- 
pression, an  erroneous  one,  is  common,  that 
they  are  sort  of  scientific  plaything.  In 


osities.  It  is  a very  old  device  for  keep- 
ing the  time  of  day ; possibly  some  kinds 
were  in  use  over  three  thousand  years 
ago.  The  illustrations  herewith  show 
three  notable  examples,  and  will  possibly 
suggest  to  the  ingenious  mind  the  possi- 
bility of  designing  more  varieties  and  the 


TADLE  2.  —HOUR  ANGLES  FOR  A HORIZONTAL  (UN  DIAL  AND  CHORD*  IN  INCHES  FOR  A TEN-INCH  CIRCLE. 


Latitude. 

XII-30 

XI-30 

I 

XI 

1-30 

X-30 

II 

X 

11-30 

IX-30 

III 

IX 

II I -30 
V III -30 

IIII 

VIII 

1111-3° 

VI 1-30 

V 

vn 

V- 30 

V I- 30 

VI 

Degrees. 

26 

Deg.  Min. 
3 11 

0.28 

Deg.  Min. 
6 28 
0 56 

Deg.  Min. 
9 56 

0.87 

Deg.  Min. 
13  43 

1.19 

Deg.  Min. 
18  03 

1.5Z- 

Deg.  Mill. 
22  55 

1 99 

Deg.  Mm. 
28  51 

2 49 

Deg.  Min. 
36  13 

3 11 

Deg.  Min. 
46  35 

3.87 

Deg.  Min 
57  37 

4.82 

Deg.  Min. 
72  42 

593 

Deg.  Min. 
90  00 

707 

30 

3 46 

0.33 

7 38 

086 

11  42 

1 02 

16  6 
1.40 

21  00 
1.82 

26  34 

2.30 

33  06 

2.86 

40  54 

3.49 

50  22 

426 

61  49 

5 14 

75  15 

•to 

90  00~ 

707 

35 

4 19 

0.38 

8 44 

0 76 

13  22  | 

1 16  | 

18  17 

1.50 

23  45 

2.06 

29  50 

2.57 

36  47 

3.16 

44  49 

3.81 

54  10 

4 55 

64  68 

5.37 

77  06 

t>& 

90  00 

7.07 

40 

4 50 

0.42 

9 46 

0.85 

14  55  | 

1.30  | 

20  22 
1.77 

26  16 
2.27 

32  44 

2.82 

39  58 

3.42 

48  04 

407 

57  12 

4.79 

67  22 

555 

73  . 26 

6.32  . 

90  00 

7.<C 

46 

6 19 

0.46 

10  44 

0.94 

16  19  1 

__U2_J 

I 22  12 

1.93 

28  29 

2.46 

35  16 

3.03 

42  40 

3.64 

50  43 

4 29 

59  39 

4.97 

69  15 

6.68 

~79  28 

6.39 

90  00~ 

7.07 

50 

5 45 

0.50 

11  36 

1.01 

17  36  1 

_J-M  J 

1 23  51 

| 206 

30  27 

' 2.68 

37  27 

3.21 

44  57 

3.82 

53  00 

4.46 

61  36 

6.12 

70  -*3 

6.79 

80  28 
6.46 

•00  00 
7.07 

56 

6 09 

0.54 

12  23 

1 08 

18  45 

1.68 

1 25  16 

| 2.19 

82  09 

2.77 

39  20 

>.37 

46  53 

3.98 

54  60 

460 

68  11 
6.24 

71  68 

6.87 

"eo  63 
r 6.49 

90  no 
7.07 

00 

6 30 

0.57 

13  04 

1.14 

19  44 

1.71 

I 26  31 

2.30' 

33  36 

2.89 

40  54 

3.49 

48  28 

. 4.10 

56  19 

4.72 

TT  48-1 

*93 

81  32 

6.62 

90  00 

7.07 

reality  under  many  circumstances  and  in 
many  situations,  they  are  particularly  use- 
ful, and  far  more  reliable  and  accurate, 
day  in  and  day  out,  than  the  average  clock. 

The  fact  that  the  sun  dial  is  intimately 
associated  with  scientific  consideration  im- 
parts to  it  a particular  interest,  and  has 
probably  maintained  for  it  a particular 
neglect  in  the  ordinary  mind  which  might 
well  be  removed.  That  it  admits  of  monu- 
mental features  and  may  be  frequently  used 
in  decorative  effects  greatly  adds  to  its 
value. 

Besides  the  horizontal  and  vertical  types, 
which  are  the  most  common,  there  are 
many  other  forms,  some  in  very  fact  curi- 


addition  of  details  to  make  the  shadows 
cast  by  Old  Sol  tell  other  stories. 

The  simplest  and  most  popular  form  is 
the  horizontal  dial ; the  others  require  some 
better  acquaintance  with  angles,  and  neces- 
sitate computations,  which,  while  not  of 
serious  difficulty,  will  undoubtedly  impair 
interest  in  the  subject  for  many  readers. 

To  design  a sun  dial  one  must  know,  or 
ascertain,  the  latitude  of  its  proposed  loca- 
tion to  within  a quarter  of  a degree.  This 
can  be  obtained  in  many  ways : with  a sex- 
tant or  a transit  instrument  taking  an  alti- 
tude of  the  north  star;  or  measured  off  on 
any  reliable  large  sized  map;  or  from  the 
office  of  the  Geological  Survey,  or  Coast 


MONUMENT  DEALER’S  MANUAL 


125 


Survey,  at  Washington,  a letter  will  un- 
doubtedly bring  both  correct  latitude  and 
longitude. 

Before  any  work  of  construction  is  be- 
gun it  is  advisable  to  make  a full  sized 
sketch  of  the  proposed  dial  on  paper, 
which  with  the  aid  of  the  accompanying 
tables,  a pair  of  compasses  and  a foot  rule 
or  scale,  may  be  readily  done.  An  inch 
scale  divided  decimally  is  preferable,  but 
the  thirty-second  of  an  inch  nearest  the 
value  on  the  table  may  be  used  and  will 
give  approximate  accuracy. 

For  a horizontal  sun  dial  the  angle  at 
the  foot  of  the  gnomon,  or  stile  (the  tri- 
angular vertical  member  which  makes  the 
shadow)  equals  the  latitude  of  the  place 
and  directions  for  laying  it  off  are  given 
as  follows  in  the  Scientific  American : 

To  plot  the  gnomon  or  stile ; Draw  the 
line  a d (Fig.  1)  5 inches  in  length,  and 
at  one  end  erect  a perpendicular  d e,  the 
height  of  which  is  found  from  Table  1, 


direct,  or  by  interpolation  when  necessar)/ 
for  the  given  latitude.  For  example,  lati- 
tude 38  deg.  54  min.  (Washington,  D.  C.), 
the  height  5/6  of  a degree  greater  than  for 
38  deg.  The  difference  between  the  tabular 
value  for  38  deg.  and  40  deg.  is  0.29  inch, 
or  say  0.15  inch  for  1 deg.  or  0.12  for  5/6 
degree,  3.91  plus  0.12  — 4.03,  the  height  re- 
quired. Connect  the  points  a and  e.  The 
angle  d,  a,  e — 38  deg.  54  min.,  and  is  the 
correct  angle  for  a stile  at  the  given  lati- 
tude. The  sides  a,  d,  and  a,  e,  may  be  ex- 
tended or  cut  short,  and  the  back  of  the 
stile  made  of  any  shape  desired.  The 


length  of  the  shadow  line  a,  f,  should  be 
about  three-fourths  the  diameter  of  the 
proposed  dial. 

To  lay  out  the  hour  circle:  Draw  the 
parallel  lines  a,  b,  a',  b',  representing  the 
base  of  the  stile  in  length  and  thickness 
(for  ordinary  metal  stiles  this  should  be 
from  % to  Y%  of  an  inch).  With  the  points 
a,  a'  as  centers  and  with  a radius  of  5 


tasli  1 -ntsar  or  j^tile  m inch*  to*  a 5-lnch  base  roR 

VARIOUS  LATITUDE?. 


Lat 

a. 

Lai 

H. 

Deg. 

25 

8.33 

8*. 

....  4 K 

as . 

2T44 

46 

....  5 U 

28 

2 66 

48 

ao  

....2,89 

50 

.....5  9t 

fl2  _ 

.......  * 18 

62  . 

34  ... 

3 87 

64.  

86  

363 

56 

....  7 41 

38 

...3  91 

58 

...  8.00 

40 

4 20 

60 . 

....  8.66 

48  .... 

TABLE  S.— ooiwecnowi  IK  11B0TI19  TO  CHANr.E  SUN  TTMK  TO  LOCAL 
MEAN  TIME.  ADD  THOSE  MARKED  + , SUBTRACT  THOSE 
MARKED  — , FROM  SUN  DIAL  TIME. 


Day  of  Month.  j 1 

5 

10 

16 

20 

26 

30 

January ..  . 

+ 3 

+ 5 

+ 7 

+ » 

+ 11 

+ 12 

+M 

February . - 

+ 14 

+ 14 

+ 14 

+ 14 

+44 

+ 13 

March ..  . 

+ 13 

+ 12 

4-11 

+ 9 

+ 8 

+ 6 

+ 5 

April 

+ 4 

+ 3 

+ 2 

+ o 

- 1 

- 2 

- 8 

May. ... 

- 3 

- 8 

--  4 

- 4 

— 4 

- 3 

— 8 

— 3 

— £ 

— 1 

+ o 

+ 1 

+ 2 

+ 8 

July ..  -- 

+ 3 

+ 4 

+ 5 

+ « 

+ 6 

+ 6 

+ « 

August 

+ « 

+ 6 

+ 5 

4 4 

+ 3 

+ 2 

+ 1 

September 

+ o 

— 1 

- 3 

- 6 

— 6 

— 8 

—10 

October 

-w 

-11 

—18 

-14 

—16 

-16 

—16 

November 

-16 

—16 

-16 

—15 

—14 

-18 

—11 

December 

—11 

—10 

— 7 

— 6 

— 8 

- 0 

+ 2 

ins.  describe  semi-circles,  as  shown. 
Where  these  intersect  the  lines  a,  b,  a',  b' 
(extended  if  need  be),  will  be  the  12 
o’clock  points.  A line  at  right  angles  to  the 
base  of  the  stile  through  the  points  a,  a' 
will  be  the  6 o’clock  line.  Intermediate 
hour  and  half-hour  lines  can  be  located 
by  laying  off  the  chord  distances  from 
Table  2 for  the  given  latitude,  to  the  right 
or  left  from  the  12  o’clock  points  B and 
B'.  For  example,  latitude  38  deg.  54  min. 
and  9 A.  M.,  or  3 P.  M.,  the  tabular  value 
for  35  deg.  is  2.57  inches,  for  40  deg.  it  is 
2.82  inches,  difference  0.25  inch,  hence  for 
1 deg.  it  is  0.05  inch  and  for  54  min  (5/6 
deg.)  0.04;  therefore,  for  38  deg.  54  min. 
it  will  be  2.57  plus  3 times  0.05  plus  0.04  = 
2.76  inches.  In  the  same  manner  other 
hour  or  half-hour  points  may  be  located 
on  the  semi-circles  having  a and  a'  as  cen- 
ters. The  5 A.  M.  mark  and  the  7 P.  M. 
mark  are  the  same  distance  from  the  6 
mark  as  the  7 A.  M.  and  5 P.  M.  points. 
Having  fixed  the  positions  for  the  half 
hours,  the  M hour  and  the  5 or  10  minute 
marks  may  be  computed  or  spaced  in  by 
eye.  [fines  joining  each  of  the  hour  of 


126 


MONUMENT  DEALER’S  MANUAL 


minute  marks  with  the  center  a or  a 
will  give  the  hour  of  time  lines. 

If  a good  protractor,  an  implement  in 
constant  use  by  draughtsmen  for  laying 
off  angles,  is  available,  the  hour  and  half- 
hour  points  can  be  found  by  laying  off  the 
angles  taken  from  the  table  for  the  given 
latitude  from  the  points  a and  a as  centers, 
remembering  that  the  angle  to  the  12  point 
is  0 deg.  and  to  the  6 point  is  90  deg. 
If  it  is  desired  to  make  the  sketch  on  a 
larger  or  smaller  scale,  the  radius  of  the 
semi-circles  and  the  • chord  distances 
should  be  changed  in  the  same  proportion, 
but  the  angles  between  the  base  of  the 
stile  and  the  various  hour  lines  must  not 
be  changed,  whatever  the  shape  of  the 
dial  plate  may  be.  Since  the  hour  lines 
are  closer  together  near  the  12  points 
than  near  the  6,  it  is  customary  to  ex- 
tend the  former  to  a circumference  of 
some  other  circle  the  center  c of  which  is 
midway  between  the  lines,  a,  m,  and  a b', 
the  distance  a,  c,  may  be  about  1/5  the 
diameter  of  the  proposed  dial.  The  out- 
side of  the  dial  plate  may  be  of  any  fan- 
ciful design,  provided  that  the  hour  points 
always  fall  on  a radius  or  extended  radius 
of  the  circle  first  drawn. 

The  design  completed,  next  comes  con- 
struction, and  the  simplest  will  naturally 
be  in  wood,  with  the  hour  marks  printed 
in  or  otherwise  designated,  at  the  pleas- 
ure of  the  constructor.  A more  substan- 
tial idea  for  the  amateur  will  be  a sun 
dial  constructed  in  cement  and  small  field 
stones,  the  hour  and  time  marks  being 
carefully  cut  in  the  face  of  the  cement 
dial  by  a knife  before  it  hardens.  The 
gnomon,  or  stile,  may  be  made  of  bronze 
or  brass;  it  is  sometimes  made  of  stone, 
but  the  metals  are  much  better. 

When  placing  the  dial  in  position  great 
care  should  be  taken  to  make  the  hour 


circle  truly  horizontal  or  level,  and  to 
place  the  plane  of  the  gnomon  at  right 
angles  to  the  dial  face.  The  12  o’clock 
line  must  lie  in  a vertical  north  and 
south  plane,  and  the  sloping  side  of  the 
stile  (the  shadow  line),  must  point  as 
nearly  as  possible  toward  the  north  pole. 
If  the  magnetic  declination  be  known  a 
compass  needle  will  enable  one  to  prop- 
erly set  the  stile.  When  the  north  star 
is  visible  from  the  point  selected  for  the 
dial  suspend  a plumb  line  8 or  10  feet  to 
the  north,  and  in  line  between  the  select- 
ed point  and  the  north  star  when  on  the 
meridian,  i.  e.,  when  the  double  star  in 
handle  of  the  Dipper  is  vertically  over  or 
under  it;  then  fix  the  sloping  side  of  the 
stile  so  as  to  point  to  the  plumb  line,  and 
it  will  be  in  proper  position. 

Table  3 gives  the  corrections  for  select- 
ed dates  for  the  difference  between  sun- 
time and  mean,  or  clock  time.  In  Novem- 
ber the  clock  is  slow;  in  February  the  sun 
is  slow.  Four  times  a year,  April  16,  June 
15,  September  2 and  December  25,  the 
difference  between  mean  and  apparent 
time  is  zero.  On  those  dates  the  readings 
on  a sun  dial  need  no  correction.  In  ta- 
ble 3 the  difference  for  dates  not  given 
may  be  found  by  interpolation  with  an 
error  not  exceeding  a minute  at  any  time. 

The  sun  dial  is  a suggestive  object  for 
the  attention  of  the  monument  dealer.  As 
ornamental  and  at  the  same  time  useful 
and  instructive  features  in  cemeteries, 
parks,  city  squares,  fine  private  gardens 
and  public  buildings,  they  should  be  far 
more  frequently  seen  than  they  are.  It  is 
quite  probable  that  no  single  object  that 
can  be  secured  at  such  cost  as  will  meet 
all  conditions,  will  afford  the  lasting  in- 
terest of  a sun  dial ; and  the  designing  of 
them  gives  food  for  thought  and  ingenu- 
ity, a combination  always  absorbing. 


WATERPROOFING  MONUMENTS  AND  STONE  WORK. 


The  following  are  some  hints  on  the  wa- 
terproofing of  monuments,  vaults,  mausole- 
ums, etc. : 

“There  are  a few  principal  points  to  be 
remembered  in  the  subject  of  waterproof- 
ing : First — What  material  is  best  as  a 

permanent  damp  or  water  register?  and 
from  our  experience  we  would  recom- 
mend a permanent  waterproofing. 

“Second — How  is  the  waterproofing 
agent  best  handled?  There  are  two  meth- 
ods of  handling  for  the  purpose  of  wa- 
terproofing: through  the  natural  law  of 
heat  absorption,  and  through  the  carrying 
agent. 

“In  treating  the  subject  of  waterproof- 
ing for  cemeteries  for  the  protection  of 
different  vaults,  mausoleums,  etc.,  against 
moisture,  with  which  all  cemeteries  are 
troubled,  it  is  advisable  to  incorporate  the 
high  test  paraffine  into  the  pores  of  the 
different  stones  through  heat.  The  stone 
first  has  to  be  treated  mechanically  to  the 
required  temperature,  and  the  paraffine 
in  a melted  condition  is  applied  over  the 
heated  surface,  and  is  immediately  car- 
ried into  the  stone.  The  amount  of  heat 
penetration  is  controlled  entirely  by  the 
depth  of  the  heat  line,  and  this  is  always 
governed  entirely  by  the  texture  and 
porosity  of  the  stone. 

“By  applying  the  mechanical  method  as 
stated,  the  heat  serves  to  thoroughly  dry 
out  the  stone,  and  this  is  the  most  impor- 
tant factor,  for  it  is  realized  by  all  engi- 
neers and  people  who  are  conversant  with 
this  subject,  that  no  effective  waterproof- 
ing can  be  done  on  a wet  or  damp  sur- 
face ; for  while  the  moisture  is  being 
drawn  out,  no  paraffine  will  be  absorbed, 
and  this  process  must  continue  until  the 
required  amount  of  paraffine  is  taken  in, 
so  that  no  gloss  remains  on  the  outside  of 
the  stone.  Nothing  but  pure  high  test 
paraffine  must  be  used  and  each  and  every 
pore  must  be  filled  to  a depth  of  from 
one-eighth  of  an  inch  in  marble  to  one- 
half  inch  in  the  coarser  textures. 

“In  stones  which  have  rough  surface  or 
where  the  surface  is  to  be  left  visible  to 
the  effect  of  the  filling  or  treatment,  it  is 
necessary  to  apply  a further  mechanical 
process  of  removing  all  traces  of  the  water- 
proofing from  the  exterior  surface  of  the 
stone,  and  this  can  be  accomplished  by  the 
sand  blast  method  of  removing  the  film 
or  grease  marks,  leaving  the  stone  in  a 
natural  finished  condition. 


“It  is  possible  by  this  method  of  para- 
ffine application  to  treat  all  classes  of 
vaults  and  mausoleums  which  are  com- 
prised of  different  stone  textures ; taking 
in  all  relief  work,  fancy  designs,  cutting 
out  letters,  and  guaranteeing  the  stone 
permanently  against  moisture,  without 
changing  the  color  of  the  stone.  Vaults 
which  have  been  thus  treated  will  last 
many  years,  and  this  method  of  water- 
proofing will  do  away  with  the  odor  of 
dampness  which  is  generally  found  in 
cemetery  vaults,  due  to  the  fact  that  the 
stone,  in  the  course  of  construction,  is 
never  waterproofed  and  is  generally 
banked  up  by  earth  and  grass  on  all  sides 
of  it,  which  naturally  causes  the  damp- 
ness due  to  rain  or  other  climatic  condi- 
tions, especially  in  the  eastern  section  of 
the  country. 

“From  experience  it  is  found  that  in  at- 
tempting to  waterproof  an  exterior  wall 
it  is  necessary  to  go  to  the  source  of  the 
trouble,  or  in  other  words  get  to  the  back 
of  the  wall.  The  walls  of  many  struc- 
tures are  damp-proofed  on  the  inside  dur- 
ing construction.  What  becomes  of  the 
exterior,  which  is  exposed  to  the  weather, 
and  the  lime,  mortar  and  cement  joints, 
where  the  brunt  of  the  weather  is  con- 
centrated on  the  building?  The  walls  are 
left  to  the  mercy  of  dampness,  as  well  as 
freezing  and  thawing,  and  nothing  is  done 
to  overcome  the  evil.” 

The  difficult  problem  of  waterproofing 
buildings,  mausoleums  and  other  stone 
work  has  frequently  been  discussed  and 
several  systems  and  preparations  described. 

Edw.  M.  Caffall  describes  the  Caffall 
system  of  exterior  waterproofing  as  fol- 
lows : 

The  treatment  of  the  exterior  of  a build- 
ing to  render  it  permanently  and  effec- 
tively waterproof  demands  not  only  the 
material  and  the  process,  but  the  knowl- 
edge of  the  characteristics  of  the  object 
to  be  treated  on  the  part  of  the  operator 
as  well.  A stone  long  exposed  to  the 
weather  cannot  be  waterproofed  in  the 
same  manner  as  a stone  newly  taken  from 
the  quarry,  though  there  is  a principle  un- 
derlying all  operations  which  is  the  same 
in  every  case. 

It  will  be  seen  that  these  remarks  do 
not  apply  to  the  superficial  washes,  or 
mixtures  of  so-called  “waterproofing,”  so 
widely  advertised.  None  of  them  claim 
to  be  permanent,  and  therefore  none  of 


128 


MONUMENT  DEALER’S  MANUAL 


them  are  effective.  There  is  only  one  per- 
manent, effective  waterproofing  process. 

The  clearest  evidence  that  can  be  brought 
to  show  the  truth  of  the  above  state- 
ments has  been  recently  furnished  by  the 
London,  England,  authorities. 

The  obelisk  on  the  Thames  Embank- 
ment (Cleopatra’s  Needle)  has  been  treat- 
ed every  year  for  thirty-one  years  with 
a “preservative  waterproofing”  compound 
of  the  same  nature  as  the  above-men- 
tioned widely  advertised  coatings.  This 
year  the  condition  of  the  “Needle”  has 
become  so  alarming  that  they  are  seriously 
considering  removing  it  at  once  to  the  in- 
terior of  the  British  Museum,  to  keep 
company  with  the  two  Egyptian  obelisks 
already  there. 

This  unfortunate  stone,  notwithstand- 
ing its  frequent  annual  protective  “water- 
proof” coatings,  presents  the  appearance 
of  a dilapidated  factory  chimney.  Vastly 
different  is  the  condition  of  its  sister 
obelisk  in  Central  Park,  New  York. 
Though  standing  for  thirty  years  in  the 
extremely  severe  New  York  climate  there 
is  no  anxiety  or  alarm  in  the  minds  of  its 
custodians.  It  costs  absolutely  nothing  to 
maintain  its  clean,  smooth  and  beautiful 
appearance,  and  this  is  a puzzle  to  Lon- 
doners. 

Why  should  there  be  such  a striking 
difference  in  the  condition  of  these  two 
obelisks  ? 

In  1885  Robert  M.  Caffall  was  engaged 
by  the  Department  of  Parks  to  apply  the 
“Caffall  Process  for  Waterproofing”  to 
the  New  York  obelisk.  For  the  succeed- 
ing 25  years  that  stone  has  towered  aloft 
on  its  eminence  in  the  Park,  defying  the 
elements  which  attack  it  on  all  sides. 
Frost,  rain,  the  sun,  gases,  smoke  and  the 
wind  strive  vainly  to  affect  the  stone,  in 
spite  of  the  fact  that  the  obelisk  had  been 
left  unprotected  for  four  years  after  its 
erection  in  the  Park  and  seriously  dam- 
aged thereby. 

Moreover,  the  protection  afforded  by  the 
process  is  still  effective.  There  is  no 
known  reason  why  it  should  change  dur- 
ing the  next  25  years.  Even  lightning 
cannot  strike  the  shaft,  owing  to  the  noil- 


conductive  properties  of  the  materials  used. 

Here,  then,  is  an  example  of  effective, 
permanent  exterior  waterproofing  contrast- 
ed with  the  feeble,  ephemeral  “waterproof- 
ing coatings”  which  have  been  thus  dem- 
onstrated to  do  absolutely  more  harm  than 
good.  Money  is  worse  than  wasted  in 
their  purchase  and  use. 

The  reader  must  bear  in  mind  the  dif- 
ference between  underground  waterproof- 
ing (the  pitch,  asphalt  and  tar  paper  sys- 
tem) and  the  exterior,  above-ground  wall 
waterproofing.  They  are  not  the  same, 
though  in  principle  akin. 

Of  more  recent  date,  and  illustrating 
the  opening  remarks,  is  the  treatment  of 
the  Italian  fountain  in  the  New  York  Zoo- 
logical Park  (Borough  of  the  Bronx). 
This  beautiful  object  stood  for  eight  years 
between  the  primate  house  and  the  site 
of  the  new  administration  buildings.  Last 
year  it  was  determined  to  remove  it,  at 
great  expense,  to  the  center  of  the  Con- 
course. While  being  erected  in  its  new 
location  it  was  treated  with  the  Caffall 
process  for  waterproofing.  Those  who 
remember  it  in  its  old  location  will  appre- 
ciate now  the  benefit  conferred  on  the 
stone  by  its  treatment.  Some  of  the  stones 
were  completely  shattered  by  dampness 
and  frost. 

Hundreds  of  buildings  of  every  kind  of 
building  material  and  ranging  from  the 
tenement  to  the  mansion  have  been  treat- 
ed by  'this  process  and  rendered  perma- 
nently dry  and  sanitary.  Some  date  back 
to  1879.  All  are  still  good  and  sound,  ac- 
cording to  all  external  evidence. 

It  is  a strange  feature  of  our  average 
modern  construction  that  property  own- 
ers and  architects  seldom  make  provi- 
sion for  the  protection  of  stonework  or 
brickwork  from  the  weather  when  de- 
signing a building,  notwithstanding  the 
evidences  on  all  sides  of  the  damage 
wrought  by  the  weather  in  a short  space 
of  time  (even  ten  years).  All  iron  and 
woodwork  is  given  at  least  three  coats 
of  paint,  and  thereafter  every  three  or 
four  years  this  iron  and  brick  are  neg- 
lected until  the  water  begins  to  penetrate 
into  the  building,  and  even  then  is  toler- 
ated as  a necessary  evil. 


HELPFUL  HINTS  FOR  THE 
HANDY  MAN 

Alphabetically  Arranged. 

PATENT  MOVABLE  AND  ADJUSTABLE  STONE  “BANKER.” 


George  A.  Cross,  of  the  firm  of  Cross 
Brothers,  Northfield,  Vt.,  has  been  granted 
patent  No.  1,007,540  for  an  improved 
method  of  hankering  stone  which  is  de- 
signed to  provide  a support  or  table  for 
holding  stone  when  being  worked  which 
will  be  capable  of  easy  and  ready  adjust- 
ment for  bringing  any  side  of  the  stone 
to  the  position  or  angle  desired,  thus 
obviating  the  necessity  of  using  a derrick 
each  time  the  stone  has  to  be  moved. 

In  the  accompanying  drawings,  Fig.  1 
is  a view  in  front  elevation  showing  vari- 
ous positions  of  the  supporting  platform 
indicated  in  dotted  lines.  Fig.  2 is  an  end 
elevation.  Fig.  3 is  a section  view  of  one 
of  the  adjusting  rod  connections  for  the 
platform.  Fig.  4 is  a plan  view  of  the 
means  for  operating  the  adjusting  rods. 
Fig.  5 is  a view  in  perspective  of  the  bear- 
ing for  the  table. 

Referring  to  the  drawings,  1 designates 
a base  which  forms  a central  supporting 
member  2.  Adjacent  to  this  base  are  side 
supports  3.  The  central  member  is  shown 
as  cone-shaped  and  on  its  apex  is  fitted 


a socket  plate  4 designed  to  accommodate 
the  ball  member  of  a plate  5 mounted  on 
the  underside  of  a rotatable  platform  6. 
This  ball  and  socket  forms  a pivot  upon 
which  the  platform  turns  and  by  which  it 
is  supported.  Upon  the  supports  3 are 
mounted  roller  bearings  7 for  maintaining 
the  platform  in  a true,  horizontal  position 
in  the  event  of  weight  being  placed  more 
on  one  side  than  on  the  other.  This  plat- 
.form  C is  circular  in  plan  view,  and  upon 
it  are  bolted  a series  of  blocks  in  pyra- 
midal formation  and  forming  the  support 
for  a table  8,  upon  which  the  stone  sets. 
The  table  is  connected  to  the  platform  by 
a ball  and  socket  joint,  made  up  of  upper 
and  lower  plates  9 and  10,  attached  respec- 
tively to  the  table  and  the  platform.  In 
order  to  prevent  the  table  from  being  ro- 
tated on  the  platform  6 the  ball  member 
of  plate  9 is  formed  with  lugs  12  which 
fit  in  cut-outs  13  in  plate  10,  the  walls  of 
such  cut-outs  acting  as  stops  for  the  lugs 
12.  To  prevent  accidental  disengagement 
of  the  table,  a bolt  14  is  passed  centrally 
through  bores  in  the  two  plates  9 and  10. 


130 


MONUMENT  DEALER’S  'MANUAL 


The  tilting  of  the  table  8 is  accomplished 
by  means  of  screw  rods  15,  15'  and  15", 
two  of  which  15'  and  15"  are  set  at  dia- 
metrically opposite  points  on  the  table  and 
in  alignment  with  the  pivot  of  the  table, 
while  the  third,  15,  is  positioned  at  about 
90°  to  form  a means  for  adjusting  the 
table  on  one  side.  Each  screw  rod  is  con- 
nected to  the  table  by  a ball  and  socket 
joint  16,  and  to  the  platform  by  an  oscil- 
lating ball-like  nut  17  mounted  in  a hous- 
ing 18  in  the  platform.  The  turning  of 
one  of  the  screw  rods  15  in  the  nut  17  will 
cause  the  table  to  change  its  angular  posi- 
tion relative  to  the  platform.  From  the 
ball-like  nut  17  project  two  lugs  19  which 
fit  within  cut-outs  20  in  the  housing  18  to 
prevent  lateral  movement  of  the  nut  when 
the  screw  rod  15  is  actuated. 

In  order  that  the  screw  rods  may  be 
readily  turned  to  adjust  the  position  of  the 
table  each  is  provided  near  its  top  with  a 
ratchet  wrench  comprising  a ratchet  wheel 
21  and  a lever  22  carrying  a double  spring- 
actuated  pawl  23.  By  manipulating  the 


lever,  a pin  24,  operating  in  a groove  in 
the  pawl  23,  engages  one  wall  thereof  and 
causes  the  pawl  to  engage  the  teeth  of 
the  ratchet  wheel.  The  motion  may  be 
reversed  by  changing  the  location  of  the 
pin,  as  is  usual  in  the  greater  number  of 
wrenches  of  this  type. 

In  operation,  the  stone  to  be  worked 
upon  is  placed  on  the  table  by  a crane  or 
other  carrying  means  and  the  table  is  ad- 
justed to  any  angle  by  the  turning  of  the 
lever  or  levers  22  which  effects  the  turn- 
ing of  the  rod  15  or  rods  15'  15"  the  ball 
connections  of  the  rods  with  the  table  per- 
mitting any  movement  desired.  There  are 
three  of  these  screw  rods  by  which  the 
table  may  be  adjusted  in  any  position.  By 
operating  rod  15,  one  end  of  the  table  is 
forced  up  and  the  other  end  down,  or 
vice  versa,  or  by  manipulating  all  of  the 
rods,  as  previously  described,  the  table 
may  be  tilted  cornerwise.  Then,  again,  by 
turning  the  rods  15'  and  15",  the  table  may 
be  tilted  sidewise,  in  either  direction. 


MAKING  CAST  OF  CARVING. 


Can  you  tell  me  some  of  the  best  methods 
of  making  plaster  casts  of  carving  on 
monuments  in  the  cemetery?  One  often 
has  to  duplicate  the  carving  of  a job  stand- 
ing in  the  cemetery,  and  the  only  way  is 
to  have  a working  model  or  mould,  as  a 
drawing  will  not  answer  where  the  dupli- 
cate must  be  exactly  as  the  original.  In 
foliage  carving  of  high  relief  the  plaster 
gets  in  under  the  leaves.  Now,  how  is  the 
best  way  to  get  it  out  without  breaking 
the  mould?  Your  help  will  be  greatly  ap- 
preciated— J.  R.,  Pa. 

Where  it  is  required  to  duplicate  the 
carving  on  a monument  already  erected,  it 
can  be  done  without  difficulty  by  a pro- 
fessional plaster  moulder,  as  it  would  be 
inadvisable  for  one  to  do  it  who  never  did 
any  plaster  piece  mould  casting  or  glue  or 
gelatine  casting.  If  the  model  to  be  copied 
has  many  under-cuts  and  it  is  complicated, 
I suggest  a gelatine  mould.  A gelatine 
mould,  however,  has  the  inconvenience  of 
having  to  melt  the  gelatine  close  to  the 
spot  and  get  it  there  before  it  gets  too 
cold  before  pouring  it  into  the  shell  of 
plaster  made  around  the  model.  A piece 
mould  is  more  practical  if  the  undercuts 


are  not  so  deep  and  complicated.  Any 
good  plaster  caster  knows  what  to  use 
over  the  granite  or  marble  to  prevent  the 
plaster  or  the  gelatine  from  sticking.  Cas- 
tile soap  is  generally  the  best,  while  good 
olive  oil  could  be  also  used  on  marble 
without  leaving  any  stains ; but  the  man 
must  know  how  to  use  it,  and  I would 
not  advise  any  green  hand  to  undertake 
such  a delicate  work,  lest  he  might  injure 
the  model. 

Pompeo  Coppini. 

* * * 

I really  would  not  feel  like  recommend- 
ing anyone  to  attempt  to  take  a plaster 
model  of  the  carving  on  a monument  un- 
less he  had  a great  deal  of  experience 
in  making  plaster  models.  There  might 
be  a danger  of  spoiling  the  carving,  so  the 
only  advice  that  I could  give  would  be  to 
get  a professional  plaster  caster  to  do  the 
work.  I would  not  attempt  to  explain  in 
writing  to  an  inexperienced  person  how 
to  make  such  a cast,  knowing  in  advance 
how  easy  it  is  for  one  to  misapply  in- 
structions and  possibly  do  damage  or  get 
poor  results. 

Frederick  C.  Hibbard. 


CEMENTS  FOR  VARIOUS  USES. 

Recipes  for  Cements,  Plaster  and  Varnish. 


A desire  to  always  be  up  to  date  is  the 
reason  Felix  G.  Pulford,  of  Baltimore, 
Md.,  commenced  keeping  a note  book  of 
the  following  valuable  receipts,  taken  from 
the  practice  of  some  of  the  best  men  in 
the  trade : 

Keating’s  Cement  (1849)  : Calcine  a 

mixture  of  equal  parts  of  Borax  and 
Plaster  of  Paris  and  reduce  to  a fine  pow- 
der. This  is  an  excellent  substitute  for 
Plaster  of  Paris,  and  requires  less  water 
in  the  mixing.  Neither  does  it  set  as 
quickly. 

Keens  Marble  Cement : Compounded 

of  equal  parts  of  Plaster  of  Paris,  alum 
and  any  alkaline  compound. 

Scagliola : Calcine  and  powder  pure 

gypsum  and  mix  with  glue,  isinglass,  or 
other  gelatinous,  body  with  the  color 
(painter’s)  desired.  The  different  colors 
are  combined  and  floated  into  the  mould 
as  desired.  The  hardened  work  is  rubbed 
with  pumice  and  sponged.  As  final 
touches  the  work  is  polished  with  Tripoli 
earth  and  pure  charcoal,  followed  by 
Tripoli  and  oil  and  finally  with  oil  alone. 

Common  Solder:  To  two  pounds  of 

melted  lead  add  one  pound  of  tin. 

Hard  Solder:  To  two  pounds  of  melted 

copper  add  one  pound  of  tin. 

Soft  Solder:  To  one  pound  of  melted 

lead  add  two  pounds  of  tin. 

Fusible  Alloy:  Melt  in  boiling  water 

four  ounces  of  bismuth  and  add  2V2  ounces 
of  lead  and  V2  ounce  of  tin.  Or,  melt  in 
the  same  manner  one  ounce  of  tincture  of 
bismuth  and  one  ounce  of  lead. 

Wood  Cement:  A useful  cement  for 

rendering  foundation  boxing,  or  casket 
boxes,  impervious  to  water  is  prepared  by 
calcining  separately  equal  parts  of  lime, 
clay  and  oxide  of  iron.  The  parts  must 
be  kept  in  separate  vessels  until  ready  for 
use,  and  then  mixed  to  the  consistency 
of  paste  and  applied  with  a trowel  or  stiff 
brush. 

Marble  Cement:  Add  equal  parts  of 

loaf  sugar  and  slackened  lime  to  boiled 
arrow  root  until  the  mixture  forms  a stiff 
paste. 

Plaster  Varnish : An  excellent  varnish 

for  plaster  figures  is  made  by  fusing  V2 
ounce  of  tin  with  the  same  amount  of 
bismuth  and  adding  to  the  result  V2  ounce 
of  mercury.  Before  applying  the  figure 
should  be  brushed  with  the  white  of  an 
egg. 


Best  Cements : For  stone  work : One 

part  cement  and  three  of  sharp  sand.  For 
Brick  Work:  One  part  cement  and  two 

of  sand.  For  Concrete:  One  part  ce- 

ment, three  parts  sand  and  three  of 
crushed  building  stone.  If  used  for  foun- 
dations the  concrete  should  be  mixed  with 
as  little  water  as  possible  and  left  for  48 
hours  before  weight  is.  added. 

Marble  Cement : Bake  a saturated  solu- 

tion of  equal  parts  of  Plaster  of  Paris 
and  powdered  alum  and  grind  to  a fine 
powder.  This  is  mixed  in  a cement  as 
wanted.  The  composition  sets  very  hard 
and  will  take  a high  polish.  It  may  be 
mixed  with  any  mineral  color  to  corre- 
spond with  that  of  the  stone  to  which  it 
is  applied. 

Plaster  Hardener : Calcine  a saturated 

solution  composed  of  equal  parts  of  alum 
and  gypsum  and  reduce  to  a powder  which 
is  mixed  with  the  plaster  in  quantities 
sufficient  to  bring  about  the  degree  of 
hardness  desired. 

CEMENT  FOR  POINTING  JOINTS. 

For  making  a cement  for  pointing  the 
joints  of  monuments  the  following  for- 
mula is  recommended : 

Take  dry  white  lead,  mix  it  with  a good 
quality  of  varnish,  use  dry  coloring  mat- 
ter to  produce  the  color  required.  This  is 
to  be  mixed  with  a hand  hammer,  and  the 
more  it  is  worked,  the  better  it  gets. 
Should  it  dry  up,  it  is  all  the  better  after 
being  mixed  the  second  time,  and  it  will 
keep  for  several  days  in  air  tight  dish  or 
in  water.  In  cold  weather  it  needs  to  be 
warmed  before  using. 

SPECIAL  PURPOSE  CEMENT. 

The  value  of  a cement  is,  first,  that  it 
should  become  a strongly  cohering  medium 
between  the  substances  joined;  and,  second, 
that  it  should  withstand  the  action  of  heat, 
or  any  solvent  action  of  water  or  acids, 
says  the  National  Builder.  Cement  often 
fails  in  regard  to  the  last  considera- 
tion. For  waterproof  uses  several  mix- 
tures are  recommended,  and  the  fol- 
lowing may  be  mention:  One  is  to  mix 

white  lead,  red  lead  and  boiled  oil,  to- 
gether with  good  size,  to  the  consistency 
of  putty.  Another  is  one  ounce  of  pow- 
dered resin  dissolved  in  ten  ounces  of 
strong  ammonia,  and  five  parts  of  gelatine 
and  a one-part  solution  of  acid  chromate 


132 


MONUMENT  DEALER’S  MANUAL 


of  lime.  Exposing  the  article  to  sunlight 
is  useful  for  some  purposes.  A water- 
proof paste  cement  is  said  to  be  made  by- 
adding  to  hot  starch  paste  half  its  weight 
of  turpentine  and  a small  piece  of  alum. 
As  a cement  lining  for  cisterns,  two  parts 
each  of  powdered  brick,  quicklime  and 
wood  ashes  made  into  a paste  with  boiled 
oil  is  recommended.  The  following  are 
cements  for  steam  and  water  joints; 
Ground  litharge,  ten  pounds ; plaster  of 
Paris,  four  pounds ; yellow  ochre,  one-half 
pound : red  lead,  two  pounds ; hemp  cut 
in  one-half  inch  lengths,  one-half  ounce, 
mixed  with  boiled  linseed  oil  to  the  con- 
sistency of  putty.  White  lead,  ten  parts ; 
black  oxide  of  manganese,  three  parts ; 
litharge,  one  part ; mixed  with  boiled  linseed 
oil.  A cement  for  joints  to  resist  great  heat 
is  made  thus : Asbestos  powder  made  in  a 
thick  paste  with  liquid  silicate  of  soda.  For 
coating  acid  troughs  a mixture  of  one  part 
pitch,  one  part  resin  and  one  part  plaster 
of  Paris  is  melted,  and  is  said  to  be  a 
good  cement  coating.  Correspondents  fre- 
quently ask  for  a good  cement  for  fixing 
iron  bars  into  stone  in  lieu  of  lead,  and 
nothing  better  is  known  than  a compound 
of  equal  parts  of  sulphur  and  pitch.  A 
good  cement  for  stoves  and  ranges  is  made 
of  fire  clay  with  a solution  of  silicate  of 
soda.  A glue  to  resist  damp  can  be  pre- 
pared with  boiled  linseed  oil  and  ordinary 
glue,  or  by  melting  one  pound  of  glue 
in  two  quarts  of  skimmed  milk ; shellac, 
four  ounces ; borax,  one  ounce ; boiled  in 
a little  water  and  concentrated  by  heat  to 
a paste.  A cement  to  resist  white  heat 
may  be  usefully  mentioned  here : Pulver- 

ized clay,  four  parts ; plumbago,  two ; iron 
filings  free  from  oxide,  two ; peroxide  of 
manganese,  one ; borax,  one-half ; sea  salt, 
one-half ; mix  with  water  to  thick  paste, 
use  immediately,  and  heat  gradually  till  it 
comes  nearly  to  a white  heat. 

CEMENT  FOR  SETTING 
MONUMENTS. 

The  way  to  mix  cement  for  setting 
granite,  as  I have  used  it  for  15  years,  is 
to  use  dry  white  lead  and  mix  it  with 
varnish.  Copal  varnish  is  nearly  free 
from  oil.  Mix  it  the  same  as  you  would 
dough.  When  you  are  ready  to  use  it,  take 
a piece  and  roll  it  in  a string  on  a board. 
Use  the  palm  of  your  hand.  Make  it  as 
long  as  you  wish,  like  a worm,  and  place 


it  on  the  base  and  let  the  end  lap  over. 
Then  when  the  die  comes  down  on  it  it 
will  crush  out.  Trim  with  a knife  when 
the  job  is  set. 

W.  J.  Kemp. 

I note  it  is  recommended  to  make  a 
cement  to  set  granite  monuments  by  a mix- 
ture of  white  lead  and  marble  dust.  This 
mixture  will  stain  a stone,  which  stain  will 
travel  up  until  absorbed.  The  following  is 
a mixture  which  the  writer  has  used  for  a 
number  of  years,  which  will  not  stain  the 
stone:  Take  dry  white  lead,  mix  it  with  a 

good  quality  of  varnish,  use  dry  coloring 
matter  to  produce  the  color  required.  This 
is  to  be  mixed  with  a hand  hammer,  and 
the  more  it  is  worked,  the  better  it  gets. 
Should  it  dry  up  on  you,  it  is  all  the  better 
after  being  mixed  the  second  time,  and  it 
will  keep  for  several  days  in  an  air-tight 
dish  or  in  water.  In  cold  weather  it  needs 
to  be  warmed  before  using. 

Oliver  H.  Leaman. 

TOOL  FOR  FINDING  THE  CENTER 
OF  SHAFTS. 

The  center  of  a shaft,  a round  casting 
or  a large  round  object  may  be  easily 
found  with  the  tool  shown  in  the  illustra- 
tion, which  is  from  Popular  Mechanics. 


To  make  it,  nail  together  two  pieces  of 
board,  A and  B,  so  that  they  form  a right 
angle,  and  fasten  a long  piece,  C,  so  that 
one  of  its  edges  bisects  this  right  angle,  a 
brace,  D,  being  nailed  over  the  three  pieces 
to  insure  rigidity. 

Lay  the  device  on  the  end  of  the  round 
object  with  the  right  angle  drawn  closely 
to  the  circumference  and  then  draw  a line 
along  the  edge  of  the  long  piece  C.  Move 
it  to  another  position  and  draw  another 
line.  The  intersection,  E,  of  these  two 
lines  will  be  the  center  of  the  object. 


HANDY  CHAIN  DIE  SETTER. 


We  enclose  sketch  of  a handy  die  setter 
which  has  the  advantage  of  using  a chain 
instead  of  long  bolts.  The  chain  is  readily 
adjustable  for  dies  of  any  thickness.  We 


the  eyebolt  to  lengthen  or  shorten  for 
dies  of  any  thickness.  Use  eight-inch  han- 
dles on  all  corners  for  tightening.  B is  a 
steel  plate  for  horn  or  jack.  CC  are  holes 
for  chains  for  different  length  dies.  Rub- 


have  used  this  style  of  setter  for  many  ber  pads  or  heavy  water  hose  may  be  used 

years  and  have  not  heard  of  any  others  to  protect  die.  The  bolts  with  handles  on 

in  use.  The  chain  may  be  fastened  solid  them  should  be  % inch  thick  and  Vi-inch 

to  one  bolt  and  the  other  end  of  the  chain  chain  should  be  used, 

left  loose,  so  it  can  be  passed  through  DkArmond  & Root. 


CHANGING  NAMES  ON  A PHOTOGRAPH. 


A great  many  times  monumental  firms 
have  a photographic  design  that  a cus- 
tomer likes  and  the  salesman  thinks  that 
by  having  the  same  design  made  over  on 
a larger  scale  with  the  customer’s  name 
drawn  on  it  a sale  can  be  made.  One  can 
by  the  following  process  execute  on  the 
original  photograph  the  necessary  drawing 
of  another  name  or  other  corrections  one 
might  desire  to  make.  Purchase  one  tube 
of  opaque  white.  Chinese  white  is  the 
name  of  one  make  that  is  good;  that  is 
used  with  water.  Have  one  small  water 
color  brush  and  squeeze  some  white  out 
of  the  tube  into  a small  dish ; add  a little 
water  and  mix  with  the  brush ; keep  the 
mixture  thick.  A photograph  has  a very 
smooth  surface  that  is  a little  oily,  and 
you  can  not  work  on  it  until  it  is  prepared. 
To  prepare  it  rub  some  talcum  powder 
over  the  letters  and  other  places  you  want 
to  draw  over  and  it  is  ready  to  receive 
the  water  color.  Take  a brush  full  of 
the  white  and  draw  over  the  letters.  It 
will  be  necessary  to  go  over  this  surface 
with  the  white  several  times  until  it  is 
sufficiently  covered.  This  will  dry  in  a 
very  few  minutes  and  you  can  then  draw 


the  letters  upon  this  white  part  wanted  at 
the  time.  To  insure  neatness  draw  the 
letters  on  a piece  of  thin  paper  and  trans- 
fer them  to  the  photograph.  Then  restor- 
ing the  remaining  part  of  the  white  to 
the  original  color  is  easily  accomplished 
by  using  lamp  black,  which  is  bought  in 
the  tube  form  like  the  white.  Mix  very 
thin  with  water  with  the  brush  which  has 
been  thoroughly  washed  with  clean  water 
to  get  off  all  the  white.  Put  the  dark  tone 
around  the  letters.  Should  one  tone  not 
be  sufficient  add  another  one  until  the 
value  is  like  the  surface  around  it.  A 6 H 
lead  pencil  will  help  a great  deal.  After 
sharpening  to  a fine  point  work  over  all 
spots  that  are  too  light.  To  make  the 
letters  stand  out  and  look  raised  use  a 
3 B pencil  and  draw  their  shadows.  Carv- 
ing can  be  changed  in  this  manner  and 
any  photograph  can  be  strengthened  by 
using  white  in  some  places  and  dark  in 
other  places.  This  paint  must  be  removed 
from  the  photograph  after  the  sale  is  made 
and  be  restored  to  its  original  form.  This 
is  done  with  a good  silk  sponge  dipped  in 
clean  water.  The  paint  will  immediately 
wash  off  and  the  photograph  is  as  it  was 
before. 


134 


MONUMENT  DEALER’S  MANUAL 


FIXING  CHARCOAL  DRAWINGS. 

To  fix  charcoal  drawings  so  they  will 
not  rub  off  a thin  varnish  known  as  “Fix- 
abit”  is  used.  It  is  sprayed  on  drawings 
by  use  of  an  atomizer.  Any  artists’  supply 
houses  can  supply  it. 

CLAMP,  FRENCH,  FOR  STONE- 
WORK. 

Every  marble-worker  knows  what  trouble 
the  clamping  together  of  the  various 
pieces  of  his  work  gives  him.  The  usual 
hooks  or  clamps  are  made  of  copper  or 
iron  rod  cut  off  from  the  coil  to  the  re- 
quired length,  as  occasion  calls,  and  bent 
up  at  right  angles  at  the  two  ends ; and 
the  holes  in  the  marble  are  made  as  best 
they  can  be.  To  make  the  clamp  exactly 
long  enough  to  suit  the  distance  between 
the  holes,  or  vice  versa,  does  not  always 
prove  so  easy ; and  then  there  is  the 

§ 

FRENCH  CLAMP  FOR  STONE  WORK. 

question  of  the  depth  of  the  holes,  which 
should  agree  with  the  length  of  the  bent- 
over  portions  of  the  rod — and  even  these 
are  not  always  alike. 

The  French  marble-workers,  however, 
use  ready-made  clamps  of  rolled  steel, 
which  are  more  durable  than  the  home- 
made, and  are  said  to  save  time.  The 
turned-up  ends  are  grooved  on  their  outer 
sides,  so  that  they  have  a section  as 
shown  in  the  annexed  cut. 

There  are  on  the  French  market  13 
sizes  of  these  clamps  from  40  to  100  milli- 
meters (1.6  to  4 inches)  in  length,  in 
steps  of  5 and  10  mm. ; and  they  are  true 
to  their  nominal  dimensions,  and  all  the 
bent-over  ends  are  exactly  7 mm.  (0.28 
inches)  long.  All  require  grooves  exactly 
9 mm.  (0.38  inches)  wide  and  IV2  mm. 
(0.06  inches)  deep,  in  case  they  are  to  be 
sunk  in ; so  that  the  marble-worker  need 
have  only  one  sample  of  each  size  at  hand, 
in  order  to  make  all  the  holes  and  grooves. 
In  facade  work,  for  colored  marble,  ordi- 
nary steel  clamps  are  used ; for  white 
marble,  however,  they  are  tinned.  Experi- 
ments with  clamps  of  “galvanized” — that 
is,  zinc-coated-rod,  showed  that  in  bending 
the  zinc  flaked  off  and  left  the  iron  bare, 
causing  rust  spots  on  the  marble ; so  that 
if  zinc  coating  is  used  it  must  be  done 
after  the  rod  is  bent.  100  clamps  65  mm. 
(2.5  inch)  long,  weigh  about  a pound  and 
a half,  and  cost  about  a fifth  of  a cent 


each.  For  cemetery  work  there  are  stouter 
clamps  of  this  type. 

MARKING  CIRCLES  ON  A STONE. 


When  there  is  a large  circle  to  be 
marked  on  a stone  it  is  often  a problem 
how  to  accomplish  it.  When  there  is  no 


USING  STRAIGHT  EDGE  FOR  COMPASS. 

compass  large  enough  a long,  straight 
edge  can  be  made  by  driving  a nail  into 
one  end,  this  to  be  used  to  scratch  with. 
Also  drive  one  at  the  required  radius  dis- 
tance. A perfect  and  completely  made 
circle  is  the  result.  For  instance,  when 
one  has  a different  radius,  such  as  4 feet, 
6 feet,  etc.,  all  that  has  to  be  done  is  to 
drive  nails,  the  required  distance  and  mark 
the  stone.  Illustration  here  shows  the 
proper  way  to  use  this  system. 

PROPORTIONS  FOR  CROSS. 

Will  you  please  explain  and  illustrate  the 
right  proportion  for  tracing  or  cutting  a 
plain  cross? — T.  C.,  S.  D. 

The  proper  proportions  of  a cross  are 
as  illustrated.  The  three  arms  at  the  top 
are  measured  as  one-third  from  the  center 
of  the  cross  arms.  The  down  part  of  the 
perpendicular  arm  below  is  measured  as 
two-thirds.  One  will  always  have  a well 
balanced  cross  by  using  this  system. 

J.  W.  W. 


SHOWING  PROPORTIONS  OF 
CROSS  FOR  DECORATION, 


MONUMENT  DEALER’S  MANUAL 


135 


LAYING  OUT  A CURVED  WALK, 

It  is  no  small  task  to  lay  out  a walk  with 
irregular  curves  and  have  the  curves 
graceful.  Unless  the  work  is  carefully  done, 
an  angular  effect  will  be  produced  which 
will  spoil  the  appearance  of  the  garden 
or  lawn  through  which  it  runs.  A very 
simple  implement  may  be  devised  out  of 
a stick  with  a crosspiece,  with  which  one 
can  transfer  curves  that  are  carefully 
drawn  on  paper,  to  the  walk  itself.  Two 
implements  will  be  required,  one  for  use 
on  the  lawn,  and  the  other  of  smaller  di- 
mensions for  use  on  the  drawing  table.  As 
indicated  in  Fig.  2 of  accompanying  draw- 


ing, the  implement  is  provided  with  a 
hook  at  one  end,  while  several  holes  are 
bored  through  the  crosspiece.  The  rod  is 
also  notched  at  the  center.  A pin  is  stuck 
in  the  paper  at  one  end  of  the  curve.  The 
rod  is  hooked  over  this  pin  and  a second 
pin  is  stuck  in  the  paper  opposite  the 
notch  in  the  center  of  the  rod.  A third 
pin  is  now  driven  through  the  hole  of  the 
crosspiece  under  which  the  curve  runs. 
The  next  step  is  to  hook  the  device  over 
the  second  pin,  rest  the  notch  against  the 
third  pin,  and  insert  a fourth  pin  through 
the  crosspiece  at  the  point  where  it  inter- 
sects the  curve.  Proceeding  in  this  way, 
a series  of  pins  are  placed  in  the  paper 
along  the  curve,  and  opposite  each  is  in- 
dicated the  number  of  the  hole  in  the 
crosspiece  through  which  it  was  inserted. 
Now,:  taking  the  large  implement,  the 
same  curve  can  be  reproduced  to  actual 
working  dimensions  by  driving  pegs  in  the 
ground  through  the  holes  specified  on  the 
drawing.  In  the  case  of  an  abrupt  curve, 
or  if  it  is  desired  to  lay  out  a circle,  as 


in  Fig.  3,  the  crosspiece  may  not  be  found 
long  enough,  but  the  distance  of  the  cross- 
piece from  the  curve  at  each  step  may  be 
transferred  from  the  working  drawing  to 
the  actual  work. 

EXTENSION  HANDLE  FOR 
SWITCH. 

As  in  many  shops  the  switch  for  the 
motor  is  in  an  inconvenient  place,  a de- 
vice similar  to  the  accompanying  illustra- 
tion can  be  easily  constructed  at  any  con- 


EXTENSION  HANDLE  FOR  ELECTRIC 
SWITCH. 


venient  place  in  the  shop.  A 2x4  upright 
should  be  securely  attached  to  the  ceiling, 
and  by  using  an  inch  board  for  the  handle 
and  attaching  it  onto  the  2x4,  so  that  it 
will  swing  easily,  and  then  by  using  a 
heavy  chalk  line  to  run  to  the  switch,  we 
have  a device  that  will  save  lots  of  steps. 
One  line  should  run  through  a pulley  at- 
tached to  the  wall. 

A HANDY  DERRICK. 

A handy  derrick  designed  and  used  for 
many  years  by  W.  J.  Mattern,  North 
Topeka,  Kans.,  is  constructed  as  follows : 
It  is  constructed  of  two  14  or  16  ft.  hard 
pine  timbers  4 in.  by  6 in.,  clamped  at 
the  top  by  two  pieces  of  hard  pine  2 in. 
by  6 in.,  through  which  V2  in.  bolts  1 foot 
long,  threaded  at  both  ends  and  furnished 


136 


MONUMENT  DEALER’S  MANUAL 


with  tightening  handles,  are  passed.  These 
handles  are  made  to  be  turned  by  hand 
for  speedy  work.  About  one  foot  from 
the  top  of  these  timbers  and  at  the  proper 
angle  1%  holes  are  bored,  to  hold  the 
soft  steel  bar,  IV2  in.  diameter  by  2 ft.  2 
in.  long,  which  carries  the  clevis,  etc.  The 
clevis  is  made  of  1 in.  iron  and  has  a hang 
of  about  16  in.  in  the  clear;  it  is  kept  open 
on  the  bar  by  a 12  in.  piece  of  1%  in.  pipe 
and  over  this  pipe  a collar  is  fitted,  held 
in  place  by  a set  screw,  which  has  on 
each  side  loose  rings  through  which  the 
guy  ropes  pass.  The  sketch  will  make 
the  construction  clear. 

Any  portable  hose  can  be  used  with 
this  derrick.  Mr.  Mattern  uses  for  his  guy 
ropes  double  and  single  blocks  with  % in. 
rope.  Stones  weighing  8,000  pounds  have 
been  handled  with  this  apparatus,  and  the 
derrick  can  be  set  up  for  work  in  ten 
minutes. 

With  a three  mile  trip  to  cemetery  with 
two  men,  three  pieces  of  work  weighing 
10,000  pounds  have  been  set,  the  derrick 
erected  and  taken  down  and  the  outfit 
brought  back  again  to  the  shop  before 
12 :30  dinner  time.  For  facility  of  han- 
dling this  little  derrick  is  worthy  of  no- 
tice, and  its  cost  is  comparatively  small. 

MAKING  EYE  GLASS  LENSES. 

Very  often  the  lenses  of  a workman’s 
glasses  get  so  spotted  by  the  constant  hit- 
ting of  granite  and  steel  while  he  is  work- 
ing that  they  become  blurred  and  he  can 


SHAPE  OF  LENS 
GLASS  BEFORE 
GRINDING. 


hardly  see  through  them.  Very  few  stores 
have  lenses  for  sale  large  enough  for  the 
cutter’s  glasses.  Many  workmen  will  buy 
another  pair  of  glasses  and  throw  the  old 
ones  away.  One  good  frame  should  last  a 
very  long  time  if  one  makes  new  lenses. 
Get  a piece  of  window  glass  and  cut  with 
glass  cutter.  Run  the  cutter  along  a small 
rule  so  as  to  cut  the  glass  straight.  Cut 
the  glass  square  the  same  width  as  the 
frame.  Then  cut  off  each  corner  as  seen 
in  the  illustration  here.  Next  grind  off 


the  squareness  on  a grindstone  by  repeat- 
edly turning  the  glass  around  as  it  grinds. 
A bevel  must  be  ground  on  the  edge  so  it 
will  fit  in  the  frame.  To  do  this  hold  in  a 
slanting  position  on  each  side  of  the  glass. 
Try  the  glass  often  to  see  if  it  will  fit 
One  must  grind  very  slowly  when  the 
glass  is  about  the  right  size  for  it  will 
take  very  little  to  make  it  too  small.  It 
is  a good  idea  to  cut  and  grind  two  or 
three  pairs  at  once  and  have  them  ready 
when  needed. 

MAKING  A GLUE  MOLD. 

Please  tell  me  where  to  get  the  recipe 
for  making  a “glue  mold.” — R.  Mont.  Co., 
111. 

You  can  get  this  information  from  either 
of  the  following  books : 

“Plaster  Casts  and  How  They  Are 
Made,”  published  by  Wm.  T.  Comstock, 
New  York  City. 

“Technique  of  Sculpture,”  by  William 
Ordway  Partridge,  published  by  Ginn  & 
Co.,  Boston,  Mass. 

“Modeling  and  Sculpture,”  a description 
of  the  various  methods  and  processes,  by 
Albert  Toft,  published  by  Seeley  & Co.,  38 
Great  Russell  street,  London. 

“HARDENING”  STONE  BY 
FRENCH  METHOD. 

The  foreigner  who  sees  the  workmen 
in  Paris  planing  down  a new  stone  facade 
wonders  what  sort  of  stone  is  there  used, 
and  if  it  has  any  durability.  The  material, 
however,  which  is  taken  from  the  quarries 
under  the  city  itself  (abandoned  galleries 
forming  the  present  catacombs)  becomes 
harder  by  the  action  of  the  air.  This  is, 
however,  not  the  case  with  the  soft  sand- 
stone in  Dresden,  and  other  towns  on  the 
upper  Elbe,  which,  although  easily  worked, 
soon  loses  its  sharp  edge. 

But  recent  inventors  have  worked  out 
methods  to  improve  on  Nature’s  handi- 
work, by  treating  the  softer  building  and 
monumental  stones  to  give  them  greater 
strength.  De  La  Roche  for  instance,  of 
Paris,  treats  the  statues  and  holdings  or 
decorations  with  a solution  of  an  alkaline 
earth— a magnesium  or  aluminum  salt,  the 
acid  in  which  is  not  very  stable,  and  is 
readily  driven  off  from  its  base  by  a com- 
paratively low  temperature.  After  the 
piece  in  question  is  subjected  under  pres- 
sure in  a boiler  to  sufficient  heat  to  drive 
off  the  acid,  the  latter  can  be  recovered 


MONUMENT  DEALER’S  MANUAL 


137 


later.  The  object  in  question  is  hardened 
by  the  combination  of  the  salt  remaining 
in  the  pores — the  hydroxide — with  the 
fluoric  acid  of  the  stone.  The  recovered 
acid  can  be  dissolved  with  new  amounts 
of  lime  and  alkaline  earths,  and  used 
again. 

Outside  of  the  fact  that  the  process 
gives  articles  hardened  thereby  greater 
strength  than  ordinary  lime-sandstone  in 
which  the  proportions  are  seldom  of  even 
the  ideal  ones,  the  treated  objects  con- 
tain no  excess  of  sand. 

The  process  is  said  to  be  applicable  to 
limestone,  also. 

It  is  immaterial  if  by  the  employment 
of  this  process  slacked  lime  is  dissolved 
in  dilute  acetic  acid  or  if  sufficient  acetic 
acid  is  added  to  a vessel  of  dilute  lime 
wash,  to  clear  the  liquid.  The  lime  must 
be  thoroughly  dissolved,  so  that  any  im- 
purities may  settle  to  the  bottom  of  the 
vessel.  The  articles  are  then  placed  in 
the  solution  and  left  there  until  they  are 
perfectly  saturated,  before  being  placed  in 
the  boiler.  The  best  temperature  for  the 
latter  is  115-120  C-230-248  F.,  which  thor- 
oughly decomposes  the  acid. 

HOLDER  FOR  TOOLS. 

Workmen  having  trouble  with  pneu- 
matic tools  getting  too  hot  or  too  cold 
should  have  a piece  of  leather  neatly  sewed 
around  the  tool  leaving  a hole  in  it  for 
the  exhaust.  Not  only  will  it  prevent 
burning  the  hands,  but  is  far  more  com- 
fortable to  handle  of  a cold  morning. 
Leather  could  have  holes  punched  in  and 
laced  up  with  a shoe,  string  or  sewed  as 
preferred. 

HOLDING  BEVEL  FACED 
MARKERS. 

Bevel  faced  markers  are  difficult  to  hold 
securely  when  they  are  hankered  to  be 
lettered.  To  place  the  corner  on  the  bench 
so  that  the  bevel  face  will  be  level  and 
put  blocks  on  each  side  is  not  enough.  It 
is  rarely  held  secure  enough  and  to  have  a 
piece  of  stone  continually  moving  makes  it 
hard  to  letter.  It  also  keeps  a man  pound- 
ing at  the  blocks  with  his  hammer  every 
few  minutes  because  they  work  loose.  If 
one  will  saw  a pair  of  blocks  of  the  same 
size,  bevel  shape,  at  the  center,  like  the 
illustration  here,  and  use  them  in  this  man- 
ner, a stone  can  be  held  solid.  Blocks 
so  sawed  will  not  fit  all  corners  of  this 
description.  It  is  well  to  saw  the  open- 
ing large  enough  so  that  rock-face  work 


will  go  into  the  corner.  When  a stone 
that  has  a smooth  corner  fits  into  the 
block  it  is  often  loose ; a small  wedge  will 
tighten  it.  To  hold  any  stone  absolutely 
secure  one  can  drive  a tool  into  the  bot- 
tom block  slanting  against  the  top  one 


BLOCKS  CUT  TO  HOLD  BEVEL  FACED 
MARKERS. 


These  blocks  are  very  handy,  as  they  also 
save  much  time  when  hankering  a job 
and  they  can  be  used  lengthwise  of  a 
banker  and  the  stone  placed  in  the  handi- 
est position  for  a letter  cutter  because  he 
does  not  have  to  reach  over  the  end  of 
•the  bench  when  lettering. 

Foreman. 

HOLDING  SMALL  STONES  TO  BE 
CUT. 

It  is  very  difficult  to  hold  a small  sized 
stone  and  cut  it  at  the  same  time,  because 
it  is  not  solid  and  the  heavy  blows  from 
mallet  or  hammer  send  it  over  with  every 
blow.  A simple  way  to  hold  such  pieces 
is  shown  in  the  illustration.  Set  it  on  a 
box  or  blocks  against  the  end  of  a 
banker,  then  nail  a small  block  to  the 
banker  on  each  side  of  the  stone.  Four- 
inch  blocks  are  most  suitable  for  the  pur- 
pose, and  they  are  nailed  to  the  banker 


HOLDING  SMALL  STONES 
TING. 


FOR  CUT- 


138 


MONUMENT  DEALER’S  MANUAL 


from  the  sides,  as  nails  are  not  generally 
long  enough  to  go  through  such  blocks. 
At  the  outside  of  the  stone  there  should 
always  be  nailed  a small  board  to  the 
blocks.  This  board  must  be  pushed  tightly 
against  the  stone  before  nailing.  One  can 
save  a great  deal  of  time  if  he  has  very 
many  of  such  small  stones  to  cut  by  saw- 
ing the  end  of  the  bench  a general  size, 
and  wedging  stones  in. 

HOLDING  AND  HANDLING  THIN 
MARBLE  SLAB. 

Many  times  in  a work  shop  one  is  called 
upon  to  cut  some  delicate  work  in  marble 
of  small,  thicknesses,  and  a great  many 
times  as  thin  as  % of  an  inch.  It  is  some- 
limes  a problem  how  to  hold  this  thin 
slab  secure  enough  to  prevent  breaking. 
You  can  not  hold  it  securely  in  a vise  for 
there  is  danger  when  clamping  the  jaws 
together  of  crushing  the  marble.  An  easy 
and  always  reliable  proceeding  is  to  hold 
the  marble  fast  with  plaster  of  Paris.  Use 


a slab  of  stone,  any  dimension  that  is  larg- 
er than  the  one  to  be  cut,  that  has  an 
even  surface ; wet  this  stone  thoroughly. 
Then  mix  the  plaster  in  a large  enough 
quantity  to  insure  plenty  to  gather  on  all 
sides  at  least  IV2  inches  from  the  marble. 
Do  not  mix  by  first  putting  what  you  think 
a sufficient  quantity  of  plaster  in  a bucket, 
then  pour  water  on  to  make  thin ; also 
continue  to  stir  as  you  mix.  This  is  alto- 
gether the  wong  way.  It  makes  the  plas- 
ter seem  dead.  The  right  way  is  vice 
versa.  Put  a sufficient  quantity  of  water 
in  the  bucket  first,  then  sprinkle  the  plas- 
ter over  the  surface  of  the  water  until  it 
almost  ceases  to  absorb.  Then  carry  to 
the  stone  and  stir,  not  much,  but  enough 
to  have  it  well  mixed.  Use  a wide  wooden 
paddle  if  a small  quantity  is  being  used 
and  if  a large  stone  is  to  be  made  fast 
dump  the  contents  of  the  bucket  on  the 
slab,  then  immediately  put  the  marble  on 
the  plaster  and  with  both  hands  shift  for- 
ward and  backward  until  it  appears  down ; 


scrape  the  plaster  around  the  edge  up  to 
the  top  of  the  marble  and  let  it  bevel  off 
gradually.  A few  small  pieces  of  stone  can 
be  put  at  different  places  in  the  plaster 
to  insure  a more  secure  fastening  of  the 
marble.  When  this  process  has  been  fin- 
ished it  is  only  a short  time  until  one  can 
commence  cutting.  By  this  process  you 
can  cut  a cross  through  the  thickness  of 
the  marble  without  changing  its  position. 
Letters  can  be  cut,  also  interlaced  work 
in  relief,  or  sunk  mouldings  on  the  edges, 
etc.  To  lift  the  piece  after  being  cut  and 
to  prevent  it  being  broken  use  a wooden 
mallet  and  pound  on  all  sides  of  the  marble 
on  the  stone  it  is  secured  to ; this  is  some- 
times sufficient  to  loosen  it,  if  not  use  a 
small  thin  marble  tool  and  pound  very 
lightly  at  a number  of  places  on  all  sides. 
It  will  then  immediately  unfasten. 

* * * 

Workmen  are  often  called  upon  to  cut 
or  polish  a large  thin  slab  of  marble  used 
for  a large  counter,  or  table,  and  it  is 
ofttimes  a problem  how  to  carry  the  slab 
without  breaking  it,  to  a position  that  will 
be  handy  to  work  on.  At  all  times  the 
slab  should  be  carried  with  the  edge  up, 
and  not  by  one  man  at  each  end  holding 
the  flat  side  up,  for  if  carried  in  this  man- 
ner it  generally  results  in  a broken  slab. 
When  the  slab  is  small  and  only  requires 
the  strength  of  two  men  to  carry  it,  one 
man  should  be  at  each  end,  holding  it 
against  the  body,  with  the  edges  up.  But 
when  a slab  of  considerable  weight  has 
to  be  carried,  short  ropes  must  be  used 
by  putting  them  under  the  bottom  edge 
of  the  stone.  It  will  then  require  one 
man  to  hold  and  lift  at  each  end  of  the 
rope.  While  lifting,  the  body  must  be 
pressed  hard  against  the  stone.  This  keeps 
the  body  in  balance  and  also  helps  each 
one  to  walk  much  easier  than  if  he  walked 
erect.  The  larger  the  stone,  the  more 
ropes  and  men  will  be  required  to  carry 
it. 

GILDING  AND  BLACKENING 
LETTERS. 

Regarding  the  gilding  of  letters  on  mon- 
uments, I should  like  to  describe  a very 
simple  outfit  for  this  kind  of  work  that 
I am  furnishing,  known  as  “Amber  Gild- 
ing Oil.”  We  all  know  that  the  lettering 
is  hard  to  read  because  there  is  no  con- 
trast, no  matter  how  sharp  or  deep  the 
letters  are  cut.  With  my  method,  the 
gilding  can  be  guaranteed  from  one  to 


MONUMENT  DEALER’S  MANUAL 


139 


fifteen  years’  service,  if  applied  in  strict 
accordance  with  my  directions.  I cook 
and  mix  the  oil  mentioned  in  my  directions 
myself  and  sell  it  in  pint  and  quart  bot- 
tles. The  other  material  required,  such 
as  white  lead,  chrome  yellow  and  gold  leaf, 
can  be  bought  in  every  paint  store.  Fol- 
lowing is  my  method  of  applying  amber 
gilding  oil : 

“Dust  the  letters  until  they  are  clean  and 
apply  the  first  coat  of  white  lead  colored 
the  same  color  as  the  stone.  After  twelve 
to  twenty-four  hours,  apply  the  second 
coat  with  the  same  color,  using  a trifle 
more  of  amber  oil,  so  as  to  thin  it,  more 
than  the  first  coat.  After  both  coats  are 
absolutely  dry,  first  take  chrome  yellow 
and  mix  it  well  with  the  amber  oil  and 
apply  the  third  coat.  After  this  is  applied, 
be  very  careful  that  the  last  coat  does  not 
get  too  dry.  The  best  way  of  ascertain- 
ing this  is  to  touch  it  with  the  finger  tips 
and  if  the  coloring  is  sticky,  without  com- 
ing off  of  the  stone,  then  is  the  proper  time 
to  start  gilding.  Take  a soft  brush  and 
apply  the  gold  leaf  in  pieces  the  size  of 
the  letters  and  press  it  lightly  with  the 
brush.  After  all  of  the  letters  are  cov- 
ered with  gold  leaf,  brush  them  out  very 
lightly  and  after  the  gold  leaf  has  been 
applied  for  twenty-four  hours,  take  a soft 
camel’s  hair  brush  and  go  over  the  letters, 
polishing  them  until  they  shine.  To  re- 
move the  paint  and  gold  leaf  that  has 
been  run  over  the  side  of  the  letters  and 
out  on  polished  surface  of  the  stone,  take 
a double  piece  of  cloth,  large  enough  to 
cover  the  entire  surface  of  the  inscription, 
wet  same  with  clean  water  and  apply  it 
flat  without  any  folds  over  same.  After 
two  or  three  hours,  the  inscription  will  be 
ready  for  cleaning.  Take  a piece  of  zinc 
or  copper  four  to  six  inches  square,  put 
a sharp  edge  on  same  and  scrape  the  paint 
off.  After  this,  let  the  letters  dry  and 
brush  them  again  with  the  camel’s  hair 
brush,  after  which  your  inscription  will  be 
perfect. 

Arthur  Berliner. 

* * * 

“Will  you  kindly  tell  us  how  V-sunk  let- 
ters are  gold  leafed? 

Paint  the  V-sunk  letters  a coat  of  yellow 
paint  as  close  in  color  as  possible  to  the 
gold.  This  in  the  first  place  overcomes 
little  spots  that  might  be  missed  with  the 
gold,  but  the  main  object  of  this  paint  is 
to  make  the  gilding  stand  from  five  to  ten 
times  as  long  as  without  this  paint.  Years 


ago  I had  several  inscriptions  gilded  by  an 
expert  gilder ; he  did  not  use  this  paint 
and  the  entire  gold  was  out  inside  of  two 
years.  Then  I began  doing  it  my  way,  and 
gilding  I made  twelve  years  ago  is  perfect- 
ly good  today.  I use  Masury’s  chrome 
yellow,  senna  shade,  obtainable  in  tubes 
at  any  paint  store.  Thin  it  with  some  old 
linseed  oil  or  turpentine,  but  old  oil  is 
preferable.  I have  extra  oil  standing  for 
twelve  years  for  that  purpose.  When 
paint  is  dry,  apply  a coat  of  gold  size  (I 
use  Masury’s  Japan  gold  size)  and  in 
about  45  minutes  in  dry  weather,  longer 
in  wet,  it  is  time  to  put  the  gold  in.  Use 
Hasting’s  XX  gold  leaf,  obtainable  at  a 
good  paint  house.  An  expert  gilder  will, 
of  course,  cut  his  gold  leafs  into  small 
pieces  and  apply  just  where  needed  and 
save  gold  as  against  my  method,  but  I had 
rather  use  25  cents’  worth  of  gold  more 
and  save  two  hours’  time.  Open  the  leaf ; 
cut  it  in  half  and  put  it  on;  put  on  enough 
all  over,  then  use  a fine  soft  camel’s  hair 
brush  to  press  the  gold  down  into  the  let- 
ters. Then  I cover  the  face  of  stone  with 
a wet  sheet  of  cloth  and  after  three  hours 
scrape  off  all  paint  that  is  over.  The  gild- 
ing looks  a little  rough  first,  but  wind  and 
weather  make  it  perfectly  smooth  in  a 
few  days. 

William  Stampa. 

* * * 

Before  applying  gold  leaf  the  surface 
of  the  letters  must  be  cut  very  smooth  and 
all  miters  and  corners  must  be  sharp  and 
even.  To  prepare  the  surface  for  the  gold 
leaf  you  must  first  heat  well  the  white  of 
an  egg  and  spread  over,  using  a brush. 
By  doing  this  the  size,  which  is  next  used, 
will  not  stain  the  stone.  After  the  egg  is 
dry,  put  gold  leaf  size  over  this  with  a 
brush  and  be  careful  it  is  spread  evenly. 
This  size  must  dry  until  it  is  just  the  least 
bit  sticky.  It  often  takes  eight  to  ten 
hours  to  be  in  the  proper  condition.  The 
gold  leaf  must  be  cut  the  size  required  for 
the  different  bars  and  picked  up  and  placed 
in  the  letters  with  a camel’s  hair  brush. 
When  one  letter  has  been  filled  use  a clean 
piece  of  cotton  and  press  all  over  the  gold 
leaf,  getting  it  down  even.  At  the  corners 
use  a chisel  with  some  cotton  at  the  end 
of  the  blade.  Do  not  clean  the  edges  of 
the  letters  until  the  size  is  thoroughly  dry. 
Then  clean  off  with  a sharp  lead  chisel. 
Never  disturb  the  size  with  a brush  or 
your  fingers,  because  it  will  prevent  it  from 
holding  the  gold  leaf.  Foreman. 


140 


MONUMENT  DEALER’S  MANUAL 


A good  enamel  for  V-sunk  letters  is 
Vitralite. 

Before  using  enamel  one  must  prime  the 
letters  with  zinc  white  mixed  with  turpen- 
tine and  let  it  thoroughly  dry.  Then  brush 
the  enamel  over  the  prime  very  evenly. 
When  applying  the  enamel  do  not  let  it 
run  over  the  surface  of  the  stone,  for  the 
reason  that  there  is  crude  oil  in  the  mix- 
ture, which  would  stain  the  stone.  The 
edges  of  the  letters  must  be  cut  very 
sharp  to  insure  a clean  job. 

GILDING  MARBLE. 

To  gild  letters  clean  out  letters  care- 
fully with  a small  brush  and  apply  a coat 
of  either  white  or  orange  shellac.  When 
the  shellac  is  dry  put  on  one  or  more  coats 
of  gold  enamel. 

To  Gold  Leaf  Letters. — Shellac  is  first 
applied  and  then  a coat  of  exterior  spar 
varnish  for  a sizing.  It  is  well  to  add  a 
touch  of  yellow  ocher  to  the  varnish  as 
that  makes  a better  foundation  for  the 
gold.  The  gold  leaf  should  be  put  on  be- 
fore the  varnish  is  thoroughly  dry — 
otherwise  it  will  not  stick  to  the  marble. 
Go  over  a few  letters  with  the  varnish — by 
that  time  the  first  one  will  be  ready  for 
the  gold.  Cut  pages  of  gold  leaf  book  into 
strips  of  the  required  width,  having  first 
moistened  the  back  of  the  pages  with  tur- 
pentine to  keep  the  leaf  in  place,  and  lay 
them,  paper  side  up,  over  the  letters.  Then 
use  small  brush  or  sponge  rubber — some 
workmen  use  simply  the  tip  of  the  finger — - 
to  press  the  gold  down  into  place. 

To  Blacken  Letters. — Apply  shellac  as 
in  the  case  of  gilding,  then  use  one  coat 
of  black  made  by  mixing  lamp  black  and 
exterior  spar  varnish.  In  mixing  this 
color,  fill  little  cup  with  varnish  and  place 
small  quantity  of  black  on  a palette  or 
piece  of  glass.  Dip  brush  in  varnish  and 
work  in  black  as  it  is  needed.  If  all  of  it 
is  mixed  at  one  time,  it  will  be  likely  to 
leave  the  letters  streaked  and  blotchy.  To 
remove  surplus  shellac,  black  or  gilt,  use 
the  soft  side  of  cuttle  bone. 

— From  Vermont  Marble  Co. 

HINT  ON  GILDING  STONE  WORK. 

Apply  a coat  of  size  to  the  letters  or 
places  to  be  gilded,  then  mix  the  size  with 
a little  powdered  chalk  or  whiting.  Let 
each  coat  dry  hard  and  rub  down  with 
fine  glass  paper  before  the  next  is  applied. 
This  will  give  the  filling  necessary.  Ap- 
ply gold  size  thinly  and  evenly,  and  when 


still  sticky  put  on  the  gold  leaf,  using  oil 
gold  size  for  laying  the  leaf. 

DRESSING  GRINDSTONES. 

Grindstones  should  be  dressed  every  day 
so  as  to  keep  a good,  smooth  surface,  for 
they  will  always  cut  faster  and  one  can 
grind  a chisel  straight,  which  is  required 
especially  when  lettering  granite.  One  can 
not  gain  much  time  when  lettering  granite 
with  round  chisels.  A handy  way  to 
dress  a grindstone  is  to  use  a small  gas 
pipe  held  against  the  back  side  of  the 
stone  firmly  while  it  is  turning,  cutting 
with  this  pipe  until  the  stones  ceases  to 
have  any  bumps  and  hits  the  pipe  all  the 
way  around  while  held  in  one  position. 

IVY  LEAVES— HOW  TO  CUT. 

Considering  how  common  the  ivy  leaf 
is,  and  how  many  of  them  there  are  cut, 
it  is  astonishing  how  few  of  them  are  cut 
right,  even  in  some  of  the  best  shops. 


THE  WRONG  WAy  THE  RIGHT  WAY  UNDERSIDE 

FIG.  1.— A COMMON  MISTAKE  IN  CUTTING  IVY  LEAVES. 

There  is  no  excuse  for  cutting  these 
leaves  in  the  same  old  improper  way. 
There  are  plenty  of  leaves  in  every  cem- 
etery; get  one,  and  keep  it  at  the  shop. 
When  you  draw  one  on  the  stone  look 
at  the  natural  leaf.  Do  not  depend  on 
your  knowledge  of  drawing  these  leaves 
for  the  chances  are  you  don’t  know  half 
as  much  about  it  as  you  think  you  do ; 
get  the  leaf  and  study  it  carefully  and 
you  will  find  there  are  some  things  you 
have  overlooked  in  what  ought  to  be  a 
very  simple  job.  The  illustration  in  Fig- 
ure 1 shows  very  clearly  the  right  and 
wrong  way. 

THE  LARGEST  STONE  EVER 
QUARRIED. 

Harry  Hems,  a well-informed  English 
stone  man,  who  once  visited  this  coun- 
try, writes  to  the  Stone  Trades’  Journal 
to  deny  the  report  that  the  block  of  Maine 
granite  quarried  for  one  of  the  columns 
of  the  Cathedral  of  St.  John  The  Divine 
in  New  York,  was  the  largest  ever  quar- 
ried. Mr.  Hems  says : “The  stone  was 


MONUMENT  DEALER’S  MANUAL 


141 


64  ft.  in  length,  8V2  ft.  thick,  and  7 ft. 
wide,  its  weight  being  310  tons.  It  may 
be  interesting  to  add  this  stone  never 
reached  its  intended  destination.  As  a 
matter  of  fact,  it  was  never  moved  out 
of  the  quarry  in  which  it  is  said  to  have 
been  raised.  The  eight  admittedly  large 
granite  columns  there  (but  by  no  means 
the  largest  ever  quarried)  are  placed  con- 
siderably east  of  this  tower.  None  of  them 
are  monoliths,  but  each  is  in  two  stones, 
together  54  feet  in  height  and  6 feet  in 
diameter.  The  joint,  in  all  of  them,  oc- 
curs 36  feet  above  the  floor  line.  These 
columns  (taking  the  two  stones  together) 
weigh  155  tons  apiece.  The  largest  stone 
ever  quarried  is  generally  accepted  to  be 
still  lying  in  the  quarry  where  it  was  de- 
tached in  prehistoric  times,  Hut  never 
shifted.  It  may  be  seen  in  some  ancient 
workings  a few  miles  from  Damascus.  It 
measures  70  ft.  by  14  ft.  square,  which 
means  14,228  feet  cube.  In  the  Great 
Temple  of  the  Sun,  at  Baalbec,  in  the  same 
locality,  stands  a column  in  position,  which 
is  66  feet  high,  and  this,  probably,  may 
justly  claim  to  be  the  largest  in  the  world. 

SIGNIFICANCE  OF  LAUREL 
WREATH. 

Will  you  kindly  let  me  know  some- 
thing of  the  true  significance  of  the  laurel 
wreath  and  whether  having  them  open  at 
the  top,  with  the  streamers  below,  or  open 
at  the  bottom,  with  the  streamers  at  the 
top,  changes  the  significance ; also,  which 
is  the  most  popular  or  correct  form?  I 
am  designing  a shield  for  some  new  sta- 
tionery and  wish  to  use  the  wreath  in  this 
connection. — M.  A.  H.,  Pa. 

The  laurel  wreath  so  often  seen  on  me- 
morial stones  and  decorative  carving  has  a 
significance  that  many  are  not  familiar 
with.  The  plant  itself  is  one  of  several 
varieties,  known  commonly  as  “Victor’s 
Laurel,”  but  called  by  the  early  Greek 
“Daphne,”  though  many  Grecian  historians 
call  it  the  bay  tree. 

The  laurel  was  the  sign  or  emblem  of 
Apollo,  God  of  Light.  Some  authorities 
say  it  is  because  he  was  born  in  a laurel 
grove,  thus  rendering  the  laurel  sacred  to 
the  gods,  but  more  often  it  is  credited  to 
his  love  for  Daphne,  the  nymph  who  loved 
the  forest.  Apollo,  on  seeing  her,  loved 
her  and  pursued  her.  When  about  to  be 
overtaken,  she  threw  herself  into  the 
river,  from  whose  banks  at  once  sprang 
forth  a laurel  tree.  Apollo,  in  penitence 
over  his  disastrous  pursuit,  called  the 


shrub  “Daphne”  and  took  it  for  his  sym- 
bol, declaring  it  sacred. 

Berry  bearing  twigs  were  woven  into 
wreaths  and  wound  around  foreheads  of 
victorious  heroes,  thus  causing  it  to  be 
used  as  a symbol  of  triumph.  Apollo  was 
the  god  of  poets,  and  poets  also  received 
the  crown  of  laurel.  Later  in  Greece  and 
Rome  the  degree  of  Doctor  was  given  with 
the  laurel  crown,  from  which  comes  our 
term  “laureation”  and  title  of  “poet  lau- 
reate.” The  laurel  wreath  was  also  used 
as  a sign  of  truce,  as  was  the  olive  branch. 
Also  when  letters  were  sent  to  the  rulers 
that  told  of  great  victories  or  heroic  deeds 
the  outside  was  garnished  with  the  laurel 
wreath  used  as  a seal.  The  laurel  wreath 
was  also  considered  a protection,  being  set 
before  Greek  doors  and  carved  thereon. 
The  Emperor  Tiberius  always  wore  one 
during  electrical  storms,  as  it  was  believed 
it  could  not  be  struck  by  lightning.  It  was 
forbidden  to  be  put  to  any  profane  use. 
Apollo,  being  purified  after  his  slaying  of 
the  great  dragon  of  Krisa,  who  pursued  his 
mother,  Leto,  before  his  birth,  became  the 
god  of  purification  and  atonement.  The 
laurel  wreath  was  used  on  all  his  sanc- 
tuaries as  a sign  of  protection  therein,  and 
purification  and  atonement  to  all  penitents 
who  came  to  him  asking  help.  The  Roman 
legends  are  similar.  All  agree  in  calling 
it  a symbol  of  triumph  or  victory,  an  em- 
blem of  purification  and  atonement  and 
a crown  of  highest  honor  to  poets  or  vic- 
tors on  whom  it  might  be  conferred.  We 
can  find  no  reference,  in  authority  to  the 
matter  of  the  streamers.  This  would  be 
entirely  a matter  of  choice  with  a view 
to  most  artistic  effect. 

LIGHTING  DEVICE  FOR 
CUTTERS. 

The  accompanying  sketch,  from  F.  D. 
Black  of  Grand  Rapids,  Mich.,  shows  how 
their  workmen  use  electric  lights  to  work 
by.  This  device  was  introduced  by  one  of 
their  men,  and  is  such  a success  that  they 
believe  it  will  be  appreciated  by  all  who 
are  forced  to  use  lights  these  short  days. 
As  a rule,  in  granite  and  marble  lettering 
the  question  of  how  to  utilize  the  light  of 
a lamp,  when  necessary  to  use  one,  has 
been  a perplexing  problem.  The  workman 
must  necessarily  move  the  light  into  many 
different  positions  in  order  to  be  able  to 
see  to  do  his  work ; and  even  then  it 
proves  very  unsatisfactory  to  both  em- 
ployer and  employe,  because  of  the  inevit- 
able shadow  which  is  cast  upon  the  stone. 


142 


MONUMENT  DEALER'S  MANUAL 


One  has  never  been  able  to  see  through 
his  own  shadow,  so  he  must  move  his 
light  into  a different  position  each  time 
he  turns  around.  Where  electricity  is  used 
for  lighting  purposes,  this  condition  can 
be  remedied  very  nicely  and  with  great 
satisfaction  to  the  one  who  is  using  the 


portable  electric  light  for  stone  cutters. 


light,  by  making  use  of  the  lamp  as  shown 
in  the  accompanying  illustration.  In  that 
way  a light,  equal  to  the  best  daylight, 
can  be  obtained  and  there  are  no  shadows 
to  contend  with.  The  wire  guard  pro- 
tects the  lamp  from  being  broken  and  af- 
fords a convenient  way  of  fastening  the 
lamp  to  the  head  by  means  of  the  strap, 
as  shown.  They  believe  that  this  arrange- 
ment furnishes  the  best  light  with  the 
least  bother. 

MANUFACTURING  MARKERS. 

Retail  manufacturers  that  handle  mark- 
ers in  large  quantities  will  by  buying  large 
slabs  of  sawed  granite  of  different  sizes 
and  breaking  them  up  save  time  and  la- 
bor. These  slabs  can  be  bought  at  the 
quarries  of  different  length,  width  and 
thickness  and  different  size  markers  and 
even  small  dies  can  be  broken  from  a slab 
as  one  needs  for  an  order  or  for  stock, 
They  have  the  advantage  of  being  sawed 
with  the  grain,  therefore  the  top  for  a 
marker  or  face  of  a die  to  be  lettered  will 


BREAKING  SLAB  INTO  MARKER  STOCK. 


be  on  the  head  grain  of  the  stone  insuring 
a darker  color  and  more  even  grain.  It 
will  take  a better  polish  and  will  also  in- 
sure when  cutting  the  letters  that  they 
will  be  more  solid  and  much  easier  to  cut. 
Then,  too,  there  is  not  so  much  danger 
of  breaking  off  a corner  or  a bar  of  raised 
letters.  It  is  a good  policy  to  always  have 
one  or  more  of  these  slabs  rubbed  or 
polished  immediately  when  received  from 
the  quarries.  The  top  surface  has  saw 
marks  on  it  and  by  putting  the  large  slab 
into  the  rubbing  bed  under  the  polishing 
machine,  grinding  the  surface  of  the  slab 
down  to  what  is  called  an  ironed  surface 
or  polishing  it  is  a very  much  quicker  and 
better  way  than  when  putting  markers  into 
the  bed  to  polish  separate  after  being  cut. 
To  break  a slab  with  a thickness  of  from 
8 to  12  in.  one  can  determine  by  measure- 
ment how  many  and  what  sizes  to  be  got- 
ten from  it,  and  can  be  generally  measured 
so  as  to  have  very  little  waste.  To  prop- 
erly break  a slab  the  first  thing  is  to  drill 
holes  at  a distance  of  about  7 in.  apart. 
Then  raise  one  end  with  a jack  or  by 
crow  bar  if  possible;  put  blocks  under, 
then  a small  round  piece  of  iron  on  each 
end  on  top  of  the  blocks  exactly  under 
the  line.  Then  inserting  the  plugs  and 
feathers  in  the  different  holes  hammer 
them  down  one  at  a time  until  they  are 
tight.  It  is  now  advisable  to  use  a cutting 
chisel  and  hammer  a line  between  those 
holes  tunning  the  granite ; also  at  the  sides 
down  to  the  bottom  of  stone.  Then  ham- 
mer each  plug  at  a time  in  rotation  until 
the  slab  has  been  broken.  Repeat  the 
process  on  the  first  broken  off  pieces  to 
get  your  exact  sizes  of  smaller  ones.  Gen- 
erally this  break  is  so  even  that  it  re- 
quires very  little  cutting.  The  bottom  be- 
ing rough,  is  the  only  labor  of  any  length 
required  to  get  a marker  or  small  die  in 
good  condition.  Should  more  than  one 
side  be  required  polished  on  some  mark- 
ers, put  several  in  the  bed  at  once  and 
polish  all  together.  It  is  a waste  of  time 
to  polish  a small  piece  alone. 

MARKING  STONE  FOR 
SHIPMENT. 

The  attention  of  the  Bureau  of  Chem- 
istry of  the  Department  of  Agriculture 
has  been  directed  to  the  fact  that  ship- 
ments of  granite  frequently  go  astray  be- 
cause the  protective  crates  are  broken  off, 
leaving  the  stones  without  delivery  marks. 

It  is  the  practice  to  avoid  stenciling, 
or  other  ways  of  attaching  identification 


MONUMENT  DEALER’S  MANUAL 


143 


marks  to  the  stone  itself,  on  account  of 
the  tendency  of  the  coloring  matter  to 
penetrate  into  the  pores  of  the  stone,  mak- 
ing it  necessary,  in  some  cases,  to  remove 
the  surface  to  a depth  of  from  one-eighth 
to  one-quarter  of  an  inch.  Experiments 
were  carried  out  by  H.  P.  Holman  in  the 
Bureau,  with  a view  to  finding  some  mark- 
ing material  which  could  be  applied  to  the 
stone  itself  and  which  could  be  easily  re- 
moved from  the  stone  after  delivery.  The 
cheapest  and  simplest  material  which  was 
found  to  give  satisfactory  results  is  an 
ordinary  stencil  paste  ink  designed  for 
use  on  wood  with  water  as  a vehicle. 
Such  pastes  usually  consists  of  lamp-black 
as  a coloring  material,  clay  or  sulphate 
of  lime  as  a filler,  and  gum  or  other  solu- 
ble binding  material.  It  is  possible  that 
all  the  stencil  pastes  sold  for  use  with 
water  are  not  suitable  for  this  purpose. 
Some  might  contain  ingredients  which: 
would  make  them  objectionable.  In  ap- 
plying such  stencil  pastes  as  little  water 
as  possible  should  be  used  on  the  brush. 
Stencil  inks  or  paints  consisting  of  lamp- 
black and  a volatile  oil,  such  as  gasoline, 
turpentine,  etc.,  penetrate  into  the  pores 
of  the  stone.  Stencil  paste  applied  with 
or  thinned  with  water  does  not  penetrate 
the  stone,  and  marks  made  with  it  are  not 
entirely  removed  by  running  water  either 
from  rough  or  polished  surfaces,  unless 
rubbed  at  the  same  time,  showing  that  on 
rough  surfaces  enough  of  the  material  will 
withstand  the  action  of  rains  and  ordinary 
wear  to  remain  legible  for  a long  time. 
The  marks  can  be  entirely  removed  by 
scrubbing  with  water  and  a stiff  brush, 
and  from  very  rough  surfaces  by  using, 
in  addition,  a little  fine  sand. 

A better  but  more  expensive  stenciling 
paint  can  be  made  by  triturating  unvulcan- 
ized rubber  with  sufficient  carbon  tetra- 
chloride to  give  a solution  having  about 
the  consistency  of  paint  and  incorporat- 
ing with  this  solution  dry  lamp-black. 

This  material  can  be  applied  with  a let- 
tering or  stencil  brush,  and  dries  rapidly, 
leaving  a very  black  mark.  The  brush, 
when  not  in  use,  should  be  kept  immersed 
either  in  the  paint  itself  or  in  carbon  tetra- 
chloride in  a closed  container.  As  this  ve- 
hicle is  very  volatile,  the  paint  must  not 
be  exposed  to  the  air  except  when  in  use. 
It  is  not  inflammable,  but  has  anaesthetic 
action  similar  to  chloroform  and  must 
not  be  inhaled  in  large  quantities.  Marks 
made  with  this  paint  withstand  the  action 
of  water  and  ordinary  wear,  and  can  be 


removed  quite  easily  by  scrubbing  with 
water  and  a stiff  brush,  using  a little  fine 
sand  in  removing  the  paint  from  the  de- 
pressions on  rough  surfaces. 

MEANING  OF  MONUMENTAL 
SYMBOLS. 

Anchor — Hope. 

Chrisma  (X.  P.)  and  I.  H.  S. — Both 
Greek  contractions  of  the  word  “Jesus-” 

Circle — Eternity,  God,  Heaven  and  Trin- 
ity. 

Cross — Death. 

Dove— The  Holy  Ghost. 

Festoon  of  Flowers— Memory. 

Fruit  and  Vine — The  Personality  of 
Christ. 

Horse — The  long  journey  of  death. 

Ivy — Memory  or  Friendship. 

Lamb — Modesty,  Innocence,  Meekness. 

Laurel — Glory. 

Lilies — The  Resurrection— also  Purity. 

Oak — Strength. 

Olive  Branch — Peace. 

Palm — Victory. 

Passion  Vine — The  Anguish  of  the  Cru- 
cifixion. 

Poppy — Sleep,  or  Death. 

Rope — Eternity. 

Serpent — Death. 

Shells — The  Resurrection,  or  a Pilgrim- 
age. 

Star — Birth,  or  Life. 

Sun  Disk — Divine  Power. 

Sword — Occupation. 

Triangle — The  Supreme  Being. 

Upright  Torch — Eternal  Life. 

Inverted  Torch — Death. 

W reath — Memory. 

— Vermont  Marble  Co. 

MENDING  LETTERS. 

To  take  out  marks  or  ugly  bumps  on 
granite,  use  a blow-torch.  Heat  to  a blue 
flame  and  hold  3 inches  away  from  the 
disfigurement ; with  a chisel  in  the  other 
hand,  help  loosen  the  spall.  Keep  away 
from  the  edge  or  off  goes  the  edge.  Red 
shellac  is  best  for  mending  polished  brok- 
en letters.  Heat  a tool  red  hot,  hold  over 
the  letter  which  has  been  broken  and  the 
broken  portion.  When  hot  put  on  the 
shellac,  squeeze  them  together,  and  place 
a weight  on  same  to  make  them  even. 

Meyers’  German  cement  is  good  to  stick 
on  hammered  letters ; weight  them  and  let 
set  for  ten  hours.  When  you  are  sticking 
them  throw  some  granite  dust  on — it  . will 
help  to  give  the  cement  the  right  color. 

To  take  out  most  any  kind  of  stain  in 


144 


MONUMENT  DEALER'S  MANUAL 


granite  use  gasoline  and  plaster  of  Paris ; 
mix  well,  put  a large  batch  over  the  stain ; 
when  this  is  dry  and  washed  off,  if  the 
stain  has  not  disappeared,  repeat  the  proc- 
ess. 

MENDING  BROKEN  CORNERS. 

Should  a finished  cap,  die  or  base 
through  accident  at  the  quarry  or  on  the 
railroad  when  unboxed  have  a broken  cor- 
ner, at  once  find  the  corner  piece.  Gen- 
erally it  will  be  in  the  box.  If  the  main 
piece  can  not  be  cut  down  to  another  bed, 
obliterating  the  disfigurement,  you  will 
have  to  stick  the  corner  on,  but  do  not  do 
so  until  it  is  set  in  the  cemetery,  for  it 
might  be  broken  off  again  when  setting. 
For  polished  work  get  some  red  shellac, 
liquid  form,  which  is  better  and  handier 


HOLDING  A MENDED  CORNER 
IN  PLACE. 


to  use  than  the  shellac  leaf.  Put  the  brok- 
en corner  into  its  proper  place  after  put- 
ting on  an  even  coating  of  shellac.  See 
that  it  fits  snugly  and  that  the  joint  is 
even  all  around.  Use  a blow  torch  to  heat 
the  broken  piece,  also  the  body  of  the 
stone  around  it.  Be  careful  that  you  do 
not  get  it  too  hot  or  you  will  crack  off 
another  piece  instead  of  putting  one  on. 
Just  heat  hot  enough  to  melt  the  shellac; 
also  be  careful  do  not  get  the  flame  of  the 
blow  torch  too  near,  for  it  will  turn  the 
color  of  the  stone  yellow.  When  hot  press 
hard  on  the  broken  corner  and  clamp, 
holding  it  tight  until  the  stone  is  cool.  If 
you  have  no  clamp  use  two  boards — a 
small  board,  by  putting  it  against  the  cor- 
ner, also  a long  board,  one  end  in  the 
ground,  the  other  against  the  small  board, 
pressing  down  hard  until  tight,  as  illus- 
trated. Do  this  as  soon  as  you  take  the 
blow  torch  away.  For  hammered  work 
use  Meyers’  German  cement,  mixed  with 
some  granite  dust,  which  must  be  lighter 
than  the  color  of  the  stone,  for  this  prep- 
aration sets  a little  darker  than  it  is  when 
mixed.  Use  a clamp  or  board,  as  shown 
in  the  illustration.  Should  a corner  be 
lost  one  can  be  made.  With  this  cement, 


granite  dust  also  add  a little  whitening. 
Mix  it  considerably  lighter  than  the  stone. 
Put  this  mixture  into  the  vacant  place. 
Use  two  boards,  one  on  each  side  of  cor- 
ner, putting  props  against  them,  and  let 
set  at  least  two  days.  Then  with  a sharp 
chisel  clean  off  evenly.  Also  indent  marks 
like  the  12  or  12-cut  bush  hammer  has 
left  on  the  stone. 

A polished  corner  can  also  be  made  by 
using  the  same  mixture  as  for  hammered 
work,  adding  a little  lampblack  to  get  the 
general  color  of  the  polished  surface.  Put 
on  a clamp  or  board,  as  in  former  direc- 
tions, and  when  set  the  stone  must  be 
evenly  matched,  and  it  can  be  done  by 
using  oil  paint — blue,  black  or  white.  If 
for  Barre  or  granites  of  similar  color,  and 
for  red  and  blue-black  spots  like  Mis- 
souri, etc.,  red  paint  will  have  to  be  in- 
cluded in  your  palette.  Mix  the  colors 
to  suit  each  individual  spot  of  the  stone. 
Put  the  spots  on  the  cement  the  same  in 
character  as  the  spots  near  where  you  are 
going  to  work.  Some  will  be  nearly  round, 
some  nearly  square,  some  long,  etc.  Make 
the  spots  to  match  accordingly.  Take 
plenty  of  time  to  do  this,  and  get  your 
work  correct.  Let  the  paint  dry  at  least 
three  or  four  days.  Then  give  several 
coats  of  varnish,  which  will  give  the  ap- 
pearance of  a polish.  Let  one  coat  dry 
before  applying  another.  By  being  care- 
ful and  using  patience  this  process  can  be 
skillfully  done. 

MENDING  AND  WORKING  ONYX. 

To  mend  broken  onyx  one  must  at  the 
time  of  breakage  be  careful  that  he  saves 
all  the  pieces  and  that  the  edges  do  not 
get  shattered  or  chips  be  broken  off.  Place 
the  broken  parts  on  some  level  surface 
such  as  a slab  of  marble,  which  is  the 
best,  or  a bench.  Proceed  to  heat  the 
onyx  until  it  is  too  hot  to  put  a finger  on ; 
then  put  shellac  in  leaf  or  liquid  form  on 
one  part,  covering  all  of  the  joint.  Im- 
mediately put  the  two  pieces  together  and 
press  hard  until  the  shellac  has  squeezed 
so  that  the  joint  is  even  or  close  together. 
If  in  a condition  to  clamp,  do  so.  If  not, 
put  a heavy  weight  on  and  let  remain  un- 
til the  onyx  gets  cold.  Often  when  stick- 
ing onyx  there  will  be  places  near  the 
edge  that  have  crumbled.  This  can  be 
mended  by  using  wax  in  the  same  way  as 
one  uses  shellac,  by  heating  the  stone  some 
and  then  heating  the  wax  over  the  hole 
and  letting  it  run  into  it.  When  cold,  cut 
the  lump  away  carefully  with  a knife,  but 


MONUMENT  DEALER’S  MANUAL 


145 


not  down  to  the  surface,  for  if  you  do  you 
might  pull  the  wax  from  the  hole.  After 
using  a knife,  rub  with  pumice  stone,  then 
with  a hone,  and  then  polish.  Shellac  can 
be  bought  at  any  drug  store ; most  any 
color  wax  can  be  bought  from  a good  mar- 
ble supply  company.  If  not,  use  express 
company  wax,  which  will  be  suitable  for 
the  purpose.  The  best  way  to  heat  the 
joints  is  with  a blowpipe.  If  you  have 
none,  heat  a large  piece  of  steel  and  put 
down  close  to  the  onyx  with  two  small 
tools  under  it,  so  as  to  keep  it  off  the  sur- 
face. /.  W.  W. 

To  cope  thin  slabs  of  marble  with  a 
pneumatic  tool,  mark  your  line  and  with 
plain  chisel  held  flat  on  the  line  run  it 
from  one  edge  to  the  other  on  one  side 
several  times  and  press  hard ; it  will  break 
straight.  Have  the  slab  flat  on  the  bench, 
nothing  under  it.  When  you  cut  onyx 
saw  as  much  as  you  can  and  then  cut 
slowly  and  with  very  thin,  sharp  tools. 

MODELING  CLAY. 

We  reprint  as  follows  brief  instruc- 
tions for  modeling  clay:  “Modeling  clay 
may  be  made  of  common  clay  by  first  dry- 
ing thoroughly,  then  picking  out  all  small 
stones  and  lumps  of  dirt,  pound  with  a 
hammer,  then  roll  with  an  iron  roller  on  a 
flat  piece  of  granite  or  marble  until  very 
fine.  Sift  with  a common  flour  sifter  and 
add  water,  kneading  it  like  dough  with 
your  hands  until  thoroughly  soft  and 
moist,  but  not  wet  enough  so  as  to  stick  to 
your  fingers.  To  have  clay  always  ready 
for  use,  keep  in  a jar,  covering  the  top 
with  wet  cloths.  If  you  do  not  keep  it 
this  way  it  will  harden,  all  the  water  will 
evaporate  and  your  clay  will  require 
kneading  again,  which  takes  time.  To 
avoid  this  labor  and  unpleasantness  after 
sifting  use  vaseline  instead  of  water,  tak- 
ing a double  handful  each  time  with  vase- 
line, knead  until  it  is  soft.  This  process 
will  insure  ‘always  ready’  clay.” 

* * * 

It  is  better  to  buy  modeling  clay  in 
powder  form,  and  the  way  I mix  mine  is 
to  take  a tub  about  one-third  full  of  water 
and  shake  into  it  the  powdered  clay  un- 
til the  clay  has  soaked  up  all  the  water. 
If  the  clay  should  be  too  wet  to  use,  either 
work  in  more  powdered  clay  until  proper 
consistency  for  modeling,  or  else  spread 
out  on  some  clean  place  in  a layer  three 
or  four  inches  in  thickness  for  a day  or 
so  until  it  is  in  readiness  for  use.  When 
using  the  clay,  in  order  to  keep  it  in  good 


shape  it  should  be  sprinkled  from  time  to 
time  when  it  is  uncovered,  and  when  not 
being  worked  upon  it  should  be  covered 
with  a damp  cloth  and  carefully  wrapped 
up  with  oilcloth,  with  the  oily  surface 
of  the  cloth  next  to  the  figure. 

Frederick  C.  Hibbard. 

MODELS  FOR  CARVING  LEAVES. 

A quick  and  effective  way  to  make 
plaster  casts  of  leaves,  such  as  ivy,  oak, 
etc.,  take  a branch  or  section  of  vine  hav- 
ing the  leaves  that  you  want,  pull  the 
leaves  off,  make  a model  of  the  stem  and 
main  vine  of  clay  as  near  to  nature  as  you 
can,  then  place  the  leaves  in  their  nat- 
ural order,  filling  up  under  each  leaf 
with  clay  to  their  natural  shape.  Melt 
paraffine  wax  and  pour  over  whole  model ; 
when  the  wax  sets  you  can  wash  out  the 
clay  and  pull  out  the  leaves.  Mix  plaster 
paris  and  pour  in  mold ; when  this  sets 
put  in  oven  and  melt  wax  off.  With  a 
little  practice  you  can  make  all  your  own 
models  of  this  class. 

John  Harwood. 

PENCIL  LINES  ON  GRANITE. 

The  best  preparation  to  use  on  granite 
to  make  lead  pencil  lines  show  up  plainly 
and  lines  which  will  not  rub  off  easily,  is 
gum-arabic  in  lump  form  diluted  in  wa- 
ter, enough  so  it  will  be  a little  sticky,  and 
whitening  mixed  with  plaster  of  Paris. 
Mucilage  is  handier  to  use,  as  it  is  al- 
ready diluted.  Keep  your  mixture  of 
mucilage  and  water  in  a bottle,  make  a 
hole  in  the  center  of  the  cork  so  that  you 
can  shake  out  the  required  amount  evenly ; 
the  whitening  and  -plaster  of  Paris  in  a 
can  with  holes  in  the  lid.  Shake  a little 
of  this  powder  on  the  granite,  make  a 
hole  with  your  finger  in  the  pile,  pour  this 
solution  of  gum-arabic  and  water.  It  will 
not  run  all  over  the  stone  if  you  follow 
this  method ; use  the  flat  of  your  hand  and 
rub  over  the  surface  of  your  stone  sev- 
eral times,  lastly  very  easy  so  as  to  leave 
the  preparation  nice  and  smooth,  blow 
with  the  air  hose  to  dry  it.  If  in  a shop 
with  no  machinery,  fan  it  with  a news- 
paper to  dry  it. 

* * * 

Pencil  lines  can  not  be  seen  on  polished 
granite  without  some  preparation  on  the 
surface.  To  prepare  a die  or  base  that 
is  to  be  jointed,  or  the  top  to  be  cut,  for 
pencil  lines,  use  a lump  of  plaster  of  Paris 
and  rub  hard  over  the  polished  surface 


146 


MONUMENT  DEALER’S  MANUAL 


where  the  lines  are  to  be  drawn.  The 
plaster  will  stick  sufficiently  so  lines  can 
be  seen.  In  large  shops  which  manufac- 
ture, these  lumps  are  plentiful  at  the  pol- 
ishing beds ; in  the  smaller  shops,  buy  5 
cents’  worth  of  plaster  of  Paris,  mix  with 
water  and  mold  into  a usable  shape  and 
let  dry.  It  is  then  ready  for  use. 

LIFTING  POLISHED  GRANITE 
BALLS. 

Having  a polished  granite  ball  to  raise 
7 feet  from  the  ground  on  to  its  resting 
place,  surmounting  a monument,  a cor- 
respondent inquired  if  it  could  be  safely 
done  by  placing  about  it  a clamp  arrange- 
ment similar  to  that  used  on  all  polished 
dies. 

The  diagrams,  here  given,  illustrate 
quite  clearly  the  simple  means  used  to  lift 
even  the  heaviest  of  polished  granite  balls. 

Figure  1 shows  the  rope  sling,  as  used 
by  William  Dunbar,  of  the  J.  H.  Ander- 
son Granite  Co.,  of  Chicago,  by  which  a 
ball,  4 feet  in  diameter,  was  a short  time 
since  successfully  and  safely  lifted  to  its 
seat.  A 1^2-inch  rope  is  wound  around 
the  under  side  of  the  ball  and  tied  as 


firmly  as  possible,  making  a good  seat 
for  the  ball.  The  rope  is  then  carried 
twice  over  the  ball,  which  forms  the  sling 
into  which  the  hook  is  caught.  This  has 
proved  entirely  satisfactory,  and  there  is 
no  danger  of  slipping,  provided  the  ropes 
are  reasonably  tight. 

Figure  4 is  the  four-rope  basket  sling, 
used  by  George  Archer  & Son,  of  Chi- 
cago. Properly  tied,  it  is  impossible  for 
the  ball  to  slip  out.  Make  a coil  of  rope 
about  a third  of  the  way  up  the  ball  on 
the  under  side,  and  then  lash  4 cross 
ropes  over  the  top  of  the  ball,  giving  plenty 
of  drift.  As  the  strain  of  lifting  is  felt, 
the  ropes  will  bind  themselves  and  the 
ball  will  be  balanced  as  it  leaves  the 
ground,  and,  as  Mr.  Archer  says,  nothing 
can  happen  to  the  sphere  afterwards. 

Figures  2 and  3 show  knots,  loosely 
tied,  however,  to  give  the  construction. 
Figure  2 is  a slip-knot,  made  of  two  half 
hitches,  as  the  sailors  say,  and  which  can 
be  utilized  where  loose  ropes  are  used  to 
make  the  basket  or  sling,  and  which  can 
be  tied  at  their  proper  places  on  the  low- 
er coil-figures  1 and  4.  In  figure  1 all 
the  knots  used  should  be  square  knots,  like 
Figure  3,  if  two  ropes  are  used  for  coil 
and  sling. 

In  lifting  heavy  weights  the  utmost  care 
must  be  exercised  in  tying  the  knots  in 
the  ropes  to  prevent  slipping ; the  square 
knot,  when  properly  tied,  can  never  slip, 
but  it  is  in  making  the  square  knot  that 
the  novice  often  makes  what  the  sailors 
ridicule  as  the  “granny”  knot,  and  which 
said  novice  seems  always  more  prone  to 
construct  than  the  proper  and  efficient 
one. 

An  inch  and  a half  rope  should  be  equal 
to  any  sized  ball  so  far  turned,  but  it  is 
always  good  practice  to  be  on  the  safe 
side.  An  adept  sea  officer  suggests  that 
where  a firm  has  many  such  balls  to  lift, 
it  might  pay  to  have  two  or  four  sling 
ropes  kept  in  stock,  having  loops  spliced 
on  one  end,  and  these  could  be  slipped 
over  the  coil  rope  before  tying  it,  so  that 
lifting  a ball  would  be  a short  job.  It  is 
also  suggested:  Never  hook  onto  a sling 

when  its  ropes  lie  side  by  side  in  the 
hook ; the  hook  should  always  be  placed 
diagonally,  then  the  ropes  cross  on  the 
hook.  This  must  be  provided  for  in  the 
arrangement  of  the  ropes  for  the  slings, 
and  which  Figures  1 and  4 plainly  show. 

It  is  pretty  evident  that  the  rope  sling, 
where  rope  is  to  be  had,  far  excels  any 
bolted  clamp  device.  It  is  far  less  ex- 


MONUMENT  DEALER’S  MANUAL 


147 


pensive,  more  certain  and  effective,  and 
where  proper  care  is  exercised,  is  prac- 
tically without  danger  and  consequent 
loss. 

POLISHING  GREEN  AND  BLACK 
MARBLE. 

Green  putty  powder  should  be  used  to 
polish  all  green  and  black  marble,  but  it 
requires  a great  deal  of  patience  and  much 
physical  strength.  This  putty  can  be 
bought  at  any  marble  and  granite  supply 
house.  It  has  to  be  prepared,  for  it  will 
not  polish  the  marble  by  using  it  dry  out 
of  the  can.  Put  this  powder  in  water  and 
let  soak  until  all  has  dissolved  and  has 
become  a thick  paste ; this  requires  some- 
times a day,  but  it  should  always  soak  at 
least  12  hours.  With  a wooden  paddle  or 
spoon  put  a small  quantity  on  the  stone, 
using  a good  piece  of  woolen  cloth  for  a 
mop,  and  rub  the  surface  hard.  Add  wa- 
ter to  this  every  few  minutes ; also  add 
more  putty  as  it  is  used  up.  Continue 
rubbing  hard  all  over  the  surface  evenly 
until  a luster  begins  to  show,  then  increase 
the  spread  of  rubbing,  but  do  not  use  so- 
much  water,  and,  as  the  shine  improves, 
increase  your  speed.  Get  the  surface  of 
the  stone  warm  by  constant  fast  rubbing. 
This  will  help  the  stone  to  shine.  When 
a good  polish  has  been  obtained,  wash 
oft"  thoroughly  with  soap  and  water,  and 
when  cleaned  off  nearly  dry  use  a solu- 
tion of  oxalic  acid  and  plenty  of  water, 
and  a clean  cotton  rag.  Rub  all  over  very 
rapidly,  but  only  for  a short  time.  Im- 
mediately wash  off  again  with  soap  and 
water,  for,  if  you  do  not,  the  acid  will 
burn  the  surface  and  the  stone  will  show 
little  pimples  all  over  it.  The  acid  is  used 
to  make  the  polish  clear,  and  must  be  used 
fast  and  gotten  off  quickly.  To  help  this 
process  shave  off  a small  piece  of  a com- 
mon bar  of  washing  soap  and  put  on  the 
rag  with  the  putty  powder.  At  all  times 
when  rubbing  stop  frequently  and  scrape 
the  loose  putty  off  the  sides  of  the  stone. 
If  you  do  not,  they  may  be  burnt. 

POLISH  FOR  BLACK  MARBLE. 

Dissolve  one  ounce  of  gum  elemi  in 
four  ounces  of  denatured  alcohol.  Strain 
the  solution  and  add  it  to  a mixture  of 
eight  ounces  of  linseed  oil  and  ten  ounces 
spirits  of  turpentine.  Stir  well  and  add 
one  ounce  acetic  acid  and  seven  ounces 
soft  water.  Shake  well  before  using. 


KEEPING  THE  POLISH  CLEAN, 

A great  deal  of  acid  is  wasted  when 
cleaning  granite  that  has  just  come  from 
the  polishing  bed  because  many  polishers 
do  not  properly  prepare  the  side  that  has 
been  previously  polished  from  the  stain  of 
shot  and  steel  that  is  being  used  on  the 
next  side.  Shot  and  steel  stain  running 
over  the  polished  surface  cause  it  to  look 
dirty.  Then  it  requires  an  acid  to  get  this 
off,  so  that  the  polish  will  look  clear.  To 
prevent  this,  mix  plaster  of  Paris  and  with 
a large  broom  wipe  the  plaster  over  the 
side  that  has  just  been  polished.  When 
this  sets,  which  will  not  take  long,  the 
stain  and  slime  from  the  grinding  of  an- 
other side  will  run  over  the  plaster  in- 
stead of  over  the  polished  surface.  Clean 
water  mixed  with  a little  acid,  and  a 
sharp,  wide  chisel  will  take  off  most  of  the 
plaster.  The  remainder  is  taken  off  with 
a stiff  scrubbing  brush,  using  soap  and 
water.  Polisher. 

MOUNTING  PORCELAIN  PHOTO- 
GRAPHS ON  MONUMENTS. 

To  properly  secure  a porcelain  photo- 
graph to  a piece  of  marble  or  granite,  cut 
a hole  one-sixteenth  of  an  inch  larger 
than  the  photograph  all  around,  making 
the  bottom,  which  should  be  one-fourth  of 
an  inch  deep,  very  rough  with  holes  left 
in  this  bottom,  but  the  outside  must  be 
cut  smooth  and  sharp.  Use  plenty  of 
Meyers’  German  cement — enough  so  when 
the  photograph  fits  in  the  hole  the  cement 
will  squeeze  up  all  around  the  edge.  Wipe 
this  edge  off  carefully,  put  a small  weight 
on  top,  and  let  set  24  hours.  Do  not  touch 
while  setting. 

SCULPTOR’S  PUTTY. 

Stir  into  three  parts  by  weight  of  melted 
white  wax  (not  too  hot),  one  part  of 
wheat  flour  and  two  parts  of  Kaolin  or 
powdered  soapstone.  Knead  well  before 
cooling.  Color  to  suit. 

ROLLER  BANKERS. 

“Where  can  we  get  roller  bankers 
on  the  order  of  a truck  with  the  handle 
that  can  be  put  out  of  the  way  when  we 
are  working  on  same? 

We  do  not  know  of  any  one  selling 
them,  as  these  bankers  on  wheels  are  home- 
made. The  material  is  a pair  of  culti- 
vator wheels,  a long  2-inch  board  of  hard- 
wood, and  some  blocks  for  the  bed  of  the 
beard.  The  value  of  these  bankers  is, 


148 


MONUMENT  DEALER’S  MANUAL 


one  can  roll  a stone  on  either  end  when 
it  is  pushed  to  the  floor.  The  short  end 
is  generally  used,  as  it  is  much  easier  to 
load  and  roll  to  the  center  than  the  long 
end.  When  the  stone  is  rolled  on  the 
board  to  a place  over  the  wheels  it  is  on 


and  guides  while  another  one  pushes  from 
the  short  end  to  the  place  of  destination. 
One  can  work  a stone  on  this  banker  by 
placing  blocks  under  each  end  like  the 
illustration  here;  but  it  is  very  easy  to 
roll  this  truck  to  a stationary  banker  and 
place  one  end  of  the  truck  on  it,  then 
roll  the  stone  off  the  truck  onto  the  sta- 
tionary banker.  Using  this  truck  saves 
a great  deal  of  time  in  hankering  jobs. 
If  it  is  in  the  way  inside,  keep  it  out- 
side, or  arrange  so  that  the  long  board 
can  be  movable,  taking  it  off  the  wheels 
and  standing  it  up  against  the  wall. 

DRAWING  ON  ROUND  TOP  DIES. 

One  cannot  use  a common  square  and 
lettering  block  with  much  success  when 
laying  off  lettering  on  round-top  dies  and 
markers ; nor  can  one  use  a straight-edge 
to  draw  the  top  and  bottom  of  the  letter 
lines.  These  lines  are  drawn  correctly  by 
holding  a chisel  under  a ruler,  letting  the 
ruler  extend  over  the  top  to  the  proper 
place  to  draw  the  line.  One  hand  guides 
the  chisel  and  rule,  running  it  along  the 
edge,  while  the  other  holds  a pencil  against 


HOW  TO  HOLD  RULE  TO  DRAW  ON 
SURFACE  HAVING  MITRED  EDGE. 


the  end  of  the  rule  and  marks  a line  like 
Figure  1.  After  these  lines  are  drawn, 
many  workmen  try  to  depend  on  their  eyes 
to  judge  perpendicular  lines  drawn  free 
hand.  This  is  a very  unsatisfactory  proc- 
ess on  account  of  the  top  being  round, 
which  makes  it  misleading.  The  conse- 
quence generally  is  that  many  mistakes 
are  made  with  repeated  corrections.  For 
correctness  and  quickness  a square  can 
be  made  in  a short  time  just  for  this  pur- 
pose, one  that  will  last  several  years.  Fig- 
ure 2 shows  one  in  use.  It  can  be  made 
of  green  hickory,  of  sheet  iron  (with  the 


FIG.  2.— SQUARE  FOR  DRAWING 
ON  ROUND  SURFACE. 


FIG.  1.— DRAWING  LINE  ON 
ROUND  TOP  MARKER. 


blacksmith’s  assistance)  or  with  a thick 
piece  of  tin.  Care  should  be  used,  for 
it  must  be  exactly  true,  a 45  mitre.  One 
made  of  sheet  iron  or  wood  will  have 
two  parts  joined  together.  Before  join- 
ing them  they  should  be  fitted  exactly  cor- 
rect, and  then  mark  the  joint.  One  made 
of  tin  can  be  made  from  one  piece.  Do 
not  try  to  cut  the  tin  with  a chisel,  for 
it  will  get  all  out  of  shape,  but  use  the 
scissors. 

HOW  TO  PREPARE  A RUBBING 
BED. 

A rubbing  bed  should  be  constructed  in 
a manner  that  it  will  be  useful  and  dur- 
able and  that  will  insure  quick  setting  up 
and  taking  down.  There  should  always 


MONUMENT  DEALER’S  MANUAL 


149 


be  as  many  feet  of  stone  placed  in  a bed 
as  possible  for  the  wheel  to  reach.  One 
large  bed  can  be  finished  much  faster  than 
two  or  three  small  ones.  The  stone  should 
be  set  as  level  and  even  as  possible.  A 
box  is  made  as  illustrated  here,  using 
good,  strong  boards  the  size  of  the  bed. 
They  must  be  nailed  together  firmly.  Un- 


der these  nail  boards  at  right  angles  on 
all  sides.  They  help  to  get  closer  to  the 
surface  of  the  stones  and  form  a place 
inside  that  will  level  up  better  than  if 
onl}'-  perpendicular  ones  were  used.  These 
box  shaped  boards  are  lifted  on  top  of  the 
granite  and  fitted  as  well  as  possible. 
While  one  man  holds,  another  must  nail 
small  boards  at  the  ends  and  sides.  They 
must  rest  on  solid  ground  or  floor.  Be- 
tween each  piece  of  granite  there  are 
large  and  small  openings.  They  are  partly 
filled  with  small  pieces  of  granite.  Large 
quantities  of  plaster  of  Paris  are  mixed 
in  a bucket,  then  spread  over  the  whole 
surface,  filling  all  the  holes,  using  a wide 
wooden  trowel.  After  the  plaster  has 
been  smoothed  over  the  bed  it  must  dry 
before  commencing  to  grind.  When  you 
have  stones  to  be  put  in  the  bed  that  have 
one  or  more  polished  surfaces  they  should 
be  prepared  beforehand,  so  they  will  not 
get  any  of  the  rust  from  the  grinding  on 
them.  Then  plaster  of  Paris  on  these  sur- 
faces, put  on  with  a broom,  will  prevent 
the  rust  from  coming  in  contact  with  the 
polish.  After  the  stone  has  been  polished 
on  all  the  sides  necessary  the  plaster  must 
come  off  and  the  stone  be  cleaned.  This 
is  done  by  using  muriatic  acid  with  a stiff 
scrubbing  brush,  which  will  remove  the 
plaster.  Then  it  is  thoroughly  washed 
with  clear  water  and  taken  to  the  letter 
cutter’s  bench. 

RUST  ON  BOTTOM  BASES. 

Seeing  an  inquiry  as  to  the  cause  of 
the  rust  lines  that  frequently  appear  on 
“all  hammered”  bottom  bases,  I think 


this  rust  is  frequently  caused  by  running 
the  lawn  mower  so  close  to  the  stone  that 
the  hub  of  the  wheel  scrapes  along  the 
surface,  leaving  particles  of  iron  which 
become  damp,  and  this  causes  them  to 
rust,  leaving  the  streaks  around  the  base. 
This  can  be  readily  proven  by  noticing 
any  job  that  has  a marker  set  so  close 
that  the  mower  can  not  be  run  between  it 
and  the  base.  The  rust  lines  stop  and  do 
not  show  except  where  the  mower  can 
be  run ; also  they  do  not  show  at  all  on 
rock  face  bases. 

SAND  BLAST  MARBLE  CLEANING. 

Thomas  Gamble,  of  the  Blue  Ridge 
Marble  Company,  that  furnished  the 
marble  for  the  new  postoffice  at  New  Or- 
leans, cleaned  the  marble  by  an  interest- 
ing modification  of  the  sand  blast  system. 
The  Blue  Ridge  Company  contracted  with 
Gibson  & Schiller,  of  Chicago,  to  do  this 
work  of  cleaning.  The  Chicago  firm  be- 
gan work  with  the  regular  apparatus  for 
sand-blast  cleaning,  but  Mr.  Gamble  has 
offered  some  original  ideas  of  his  own 
that  it  is  interesting  to  note  have  modi- 
fied and  improved  the  older  process. 

The  original  sand  blast  has  been  used 
for  cleaning  various  kinds  of  building 
stone  and  for  removing  dirt  and  rust  from 
metals  for  years.  The  apparatus  consisted 
of  two  tubes  ending  in  a single  nozzle. 
Through  one  of  these  air  was  forced  un- 
der pressure  from  a compressed  air  res- 
ervoir, and  through  the  other  sand  was 


SAND  BLAST  MARBLE  CLEANING. 


150 


MONUMENT  DEALER’S  MANUAL 


forced  by  means  of  air  pressure  from  a 
closed  reservoir. 

Mr.  Gamble  has  obtained  this  same 
blast  by  a much  simpler  process.  Instead 
of  having  the  sand  forced  through  the 
sand  tube  from  a bulky  reservoir,  in  which 
air  pressure  has  to  be  maintained,  he  al- 
lows the  suction  of  the  air  current  to 
draw  the  sand  into  the  sand  tube  from  a 
little  pile  of  sand  at  the  intake  end  of 
this  tube.  The  little  sand  pile  is  fed  from 
the  lower  opening  of  an  open  reservoir 
that  holds  about  a bucket  of  sand,  and  can 
easily  be  carried  about  on  the  scaffoldings 
by  the  operator.  The  sand  can  be  replen- 
ished without  interrupting  the  cleaning 
process,  which  in  itself  is  a distinct  ad- 
vantage. 

The  sand  blast  that  Mr.  Gamble  uses 
is  similar  in  action  to  an  ejector.  The 
blast  used  generally  is  composed  of  a tank 
of  about  forty  gallons’  capacity  with  an 
air  pipe  leading  into  it  from  one  side  and 
a hand  plate  which  can  be  loosened  to 
allow  filling  with  sand.  After  filling,  this 
plate  is  tightened  to  prevent  the  air  pres- 
sure blowing  the  sand  out.  At  the  bot- 
tom of  the  tank  there  is  an  outlet  with  a 
valve  to  which  a hose  is  attached  with  a 
nozzle,  which  is  carried  to  the  point  where 
the  blasting  or  cleaning  is  to  be  done.  The 
air  pressure  is  then  turned  into  the  tank 
and  forces  the  sand  through  the  hose  and 
nozzle  against  the  stone  or  other  mate- 
rial to  be  cleaned.  The  working  is  satis- 
factory, except  for  two  reasons : The 

sand,  being  forced  through  the  hose,  cuts 
both  hose  and  nozzle  out  very  quickly ; 
second,  the  operator  has  to  stop  work 
when  all  the  sand  is  used  out  of  the  tank, 
shut  the  air  pressure  off,  take  out  the 
plate  and  refill.  With  the  outfit  of  Mr. 
Gamble’s  the  tank  is  open,  with  simply  a 
screen  over  the  top,  and  will  work  con- 
tinuously by  pouring  in  more  sand  from 
time  to  time.  As  the  sand  is  not  under 
pressure  until  it  reaches  the  nozzle,  the 
wear  on  the  hose  is  very  trifling.  The 
wear  is  practically  all  in  the  nozzle,  which 
is  made  of  tool  steel,  tempered  hard.  The 
accompanying  picture  shows  the  blast 
cleaning  a piece  of  white  marble  that  has 
been  painted  black  with  antihydrine.  Four 
of  these  blasts  were  used  in  cleaning  the 
post  office  and  they  were  so  light  the 
operators  carried  them  about  on  the  scaf- 
folds with  them. 


SEALING  WAX  FOR  MENDING 
BROKEN  PARTS. 

It  may  not  be  generally  known  that  sta- 
tionery sealing  wax  is  a good  adhesive  to 
mend  broken  parts  in  either  granite,  mar- 
ble or  soft  stone.  The  wax  can  be  bought 
at  any  stationery  store  at  five  cents  a 
stick,  in  any  color  desired. 

To  mend  a broken  part  that  has  not 
been  finished,  chip  off  wax  on  broken  part, 
then  place  broken  piece  on  it;  heat  iron 
about  one  inch  in  diameter  to  cherry  red ; 
hold  it  on  broken  piece  until  wax  is  thor- 
oughly melted,  then  go  ahead  and  finish 
work.  To  mend  stone  that  is  finished 
place  asbestos  between  hot  iron  and  broken 
part  or  heat  white  sand  to  heat  broken 
parts. 

SETTING  CURBING. 

For  a quick  and  easy  way  to  set  curb, 
use  the  arrangement  shown  in  the  accom- 
panying sketch,  setting  the  curb  on  ground 
or  in  ditch  as  necessary,  tamping  all  along 


stone  with  dirt.  When  job  is  complete, 
excavate  under  each  joint  as  deep  as  may 
be  necessary  and  fill  space  with  good  con- 
crete, letting  same  come  up  on  the  side 
of  the  stone  a little.  This  will  keep  the 
joints  from  sinking,  or  springing  side- 
wise,  and  is  quicker  than  building  piers 
and  saves  sizing  to  even  depth  at  joint 
to  fit  piers. 

John  Harwood. 

SETTING  CRADLE  JOB  WITHOUT 
BOTTOM  SLAB. 

Here  is  a good  way  to  set  a cradle  job 
where  no  bottom  slab  is  used.  Make  a 
frame,  using  6-in.  lumber,  large  enough 
to  go  all  around  job  with  2-in.  space  be- 
tween lumber  and  marble  work;  make 
another  frame  to  go  inside  of  cradle  with 
2-in.  space  between  lumber  and  marble 


MONUMENT  DEALER’S  MANUAL 


151 


work ; tack  two  strips  across  the  bottom 
of  frames  to  hold  in  position,  sink  in 
ground  as  low  as  wanted,  fill  in  with  4^4 
inches  of  good  concrete,  set  marble  work, 
then  fill  remaining  space  with  good  ce- 
ment mortar;  use  no  pins.  Work  set  this 
way  cannot  come  apart. 

John  Harwood. 

TO  SOFTEN  GRANITE  FOR 
LETTERING. 

To  soften  granite  when  lettering  apply 
good  turpentine  with  a brush,  one  or  two 
letters  ahead  of  your  cutting;  a workman 
can  cut  very  much  more  rapidly  and  also 
do  more  clean-cut  work  by  this  process. 

SPARKER  FOR  GASOLINE 
ENGINES. 

In  the  use  of  gasoline  engines,  when 
the  sparker  wears  out,  I find  it  saves  a 
good  bit  of  time  and  money  and  gives  just 
as  good  satisfaction  to  substitute  a paint 
of  nickel  or  silver  (which  you  can  easily 
make  yoursell  at  a cost  of  about  5 cents) 
instead  of  expensive  platinum. 

MEANING  OF  THE  SPHYNX. 

The  unusually  important  discoveries 
which  were  made  through  the  excavations 
of  the  Frenchman  Legrain  in  Karnak,  have 
induced  the  renowned  Egyptologist,  Prisse 
d’Avennes,  to  publish  in  the  weekly  jour- 
nal, Kosmos,  an  interesting  discussion  con- 
cerning the  meaning  of  the  Egyptian 
Sphynx.  While  the  Greek  Sphynx  shows 
a female  form  with  an  animal  body,  the 
Egyptian  art  distinguishes  besides  a fe- 
male Sphynx  a male  one  and  a “Ram” 
Sphynx  with  a ram’s  head.  Even  the  av- 
enues which  led  to  the  Egyptian  temples 
were  often  ornamented  with  a row  of 
Sphynx.  The  origin  of  the  Sphynx, 
which  at  all  events  is  to  be  found  in 
Egypt,  is  not  yet  thoroughly  settled.  Out 
of  the  dynasties  of  the  old  empire  only 
a trace  of  it  remained,  namely,  an  in- 
scription to  be  found  now  in  the  Museum 
of  Cairo,  which  does  not  state  its  exact 
age.  This  inscription  states  that  the 
Pharaoh  Chufu  had  reconstructed  a tem- 
ple which  was  situated  on  the  place  where 
the  Sphynx  was  located.  According  to 
the  latest  discoveries  the  Sphynx  not  only 
served  as  a symbol  of  all  Egyptian  gods, 
but  also  of  the  Pharaohs  and  the  Queens. 

. The  Sphynx  appeared  first  in  different 
forms  in  the  year  1822  B.  C At  that 
time  it  was  in  constant  use.  The  Sphynx 
was  also  considered  as  a holy  animal  of 


the  old  Egyptians.  In  general,  it  had  the 
body  of  a lion  and  the  head  of  a woman 
with  the  well-known  head-covering  which 
we  term  the  Sphynx  headgear,  and  some- 
times with  wings.  Later  on  it  was  pic- 
tured on  a great  many  Greek  and  Roman 
medallions,  and  on  the  seal  of  Emperor 
Augustus.  In  general  the  Sphynx  was  the 
symbol  of  secrecy.  By  uniting  a human 
head  with  the  body  of  a lion  a union  of 
mental  and  bodily  strength,  and  ruling 
power  was  denoted.  In  general  we  see 
four  symbols  represented : Knowledge  by 

the  head  and  the  womanly  breast;  will  by 
the  bull  body;  daring  by  the  paws  and 
claws  of  the  lion,  and  silence  by  the 
wings.  The  large  Sphynx  near  the  pyra- 
mid of  Chaeops  is  a native  block  of 
stone,  20  meters  in  height  and  39  meters 
long,  which  in  rough  art  was  given  the 
form  of  a legendary  animal.  Only  the 
head,  which  measures  from  chin  to  the 
top  of  the  head,  8 meters,  is  carefully 
executed.  Upon  the  head,  which  is 
reached  with  ladders,  there  is  room  for  a 
great  number  of  people,  as  the  flat  sur- 
face measures  about  26  square  meters. 

Between  the  forelegs  and  the  neck  there 
is  a door  which  leads  through  immense 
underground  stonewalks  to  the  great 
pyramids.  Upon  the  approaches  to  the 
temple  Ram  Sphynx  were  generally 
erected,  as  guards  of  these  holy  temples. 
In  the  Hall  of  Columns  in  the  temple, 
built  in  honor  of  Minerva  by  Pharaoh 
Amasis  at  Sais,  stood  male  Sphynx  of 
tremendous  sizes.  These  are  formed  in 
Egyptian  art  with  a man’s  head  with  or 
without  beard  and  the  body  of  a lion. 
But  generally  the  head  of  this  Sphynx 
represented  a portrait  of  the  monarch 
who  had  it  executed.  In  the  year  of  1825 
a male  Sphynx  of  wonderful  red  granite 
was  discovered,  whose  head  resembled 
that  of  Pharaoh  Amenophis  III.  Between 
the  fore  feet  generally  a small  picture  of 
Pharaoh  was  placed.  The  Ram  Sphynx 
which  flanked  both  sides  of  the  great 
temple  avenue  at  Karnak  were  about  five 
meters  long  and  their  heads  alone  fre- 
quently reached  to  a height  of  five  meters. 

GETTING  STEEL  FROM  THE  EYE. 

A common  accident  in  a *workshop  is  to 
get  steel  in  the  eye.  The  thing  to  do  is 
to  prevent  it  if  possible  and  every  work- 
man should  wear  glasses  when  grinding 
tools,  for  in  most  cases  the  emery  or 
grindstone  is  the  cause  of  the  accident. 
This  is  done  by  the  fire  from  the  tool 


152 


MONUMENT  DEALER’S  MANUAL 


which  goes  into  the  eye  and  burns  it, 
leaving  a little  speck  of  dark  substance. 
But  should  one  get  a piece  of  steel  or  fire 
into  his  eye  he  should  immediately  go  to 
another  workman  and  have  him  take  it 
out.  This  is  not  done  by  using  the  cor- 
ner of  a handkerchief  or  using  flaxseed 
as  for  ordinary  particles  of  dirt.  The 
steel  or  fire  sticks  in  the  covering  of  the 
eye  and  must  be  lifted  out  by  force.  To 
do  this  use  a strong  piece  of  broom  straw, 
cut  with  a mitre.  First  place  the  round 
end  on  top  of  the  lid,  then  press  down, 
turning  the  lid  over  it.  Then  with  the 
bevel  edge  scrape  the  place  and  pull  the 
spot  off  with  a scraping  motion.  Ofttimes 
one  has  to  get  under  the  side  and  pry 
it  out.  One  must  get  the  best  of  light  on 
the  eye  so  he  can  see  plainly  to  do  this 
operation. 

PREVENTING  “SWEATING”  OF 
STONE. 

All  workmen  are  more  or  less  acquaint- 
ed with  the  inconvenience  of  attempting  to 
check  in  lettering  and  tracing  work  when 
the  stone  is  inclined  to  “sweat.”  This 
trouble  is  a very  common  experience  in 
damp  and  cold  weather. 

It  is  a very  easy  matter  to  do  away  with 
the  trouble  by  simply  putting  a small 
amount  of  sand  in  a bucket  or  pan  and 
heating  over  the  stove  or  forge  until  it 
has  absorbed  all  the  heat  possible.  In  the 
meantime  a newspaper  should  be  placed 
over  the  stone  and  by  pouring  the  heated 
sand  over  this  for  a few  minutes  it  will 
be  found  that  the  dampness  has  been  done 
away  with  and  the  checking  in  can  be  con- 
tinued without  further  annoyance. 

DISCOVERY  OF  STONE  SAWING 
WITH  SHOT. 

The  following  interesting  story  of  the 
discovery  of  the  use  of  shot  for  stone 
sawing  is  from  “Harrison’s  Magazine,”  the 
house  publication  of  the  Harrison  Supply 
Co. : 

Thirty-four  years  ago  John  Harrison 
had  a contract  for  the  erection  of  some 
government  buildings  in  St.  John,  New 
Brunswick,  on  which  there  was  a short 
and  exact  time  limit,  and  it  was  neces- 
sary to  resort  to  every  means  in  getting 
out  and  assembling  the  material.  Stone  at 
that  time  was  sawed  by  means  of  steel 
blades  set  in  a swinging  frame,  sea  or 
river  sand  placed  on  the  stone  and 
washed  by  water  to  the  points  of  contact 
of  the  steel  blades  and  the  stone.  This 
saw  frame  was  weighted  down  as  it 


swung  back  and  forth  for  a more  force- 
ful contact  with  the  stone  at  the  points  of 
separation — it  being  understood  that  there 
were  as  many  steel  blades,  or  separate 
saws,  set  in  this  swinging  frame  as  the 
number  of  pieces  required  from  a large 
block  as  it  came  from  the  quarry.  Hard 
stone  was  sawed  in  this  way  at  the  rate 
of  three-quarters  of  an  inch  an  hour,  and 
it  required  the  handling,  by  hand,  of  100 
tons  of  sand,  which  formed  the  abrasive, 
during  this  time.  This  was  the  way  the 
stone  was  sawed  all  over  the  world  up 
until  thirty-four  years  ago. 

Now,  when  John  Harrison  got  this 
short  time  limit  contract  in  St.  John,  New 
Brunswick,  he  ran  his  fingers  through  his 
hair  in  an  effort  to  find  some  way  of 
sawing  stone  faster,  and  this  idea  flew 
out. 

Why  not  use  iron  filings  instead  of  sand 
on  the  stone  saws?  He  applied  the  idea 
and  was  able  to  saw  14  inches  of  stone 
an  hour  and  only  required  the  handling 
of  one  ton  of  iron  filings. 

He  required  more  iron  filings  than  he 
could  conveniently  buy,  so  he  set  up  a 
cupola  furnace,  melted  old  stove  castings, 
ran  the  molten  mass  out  of  the  furnace 
in  a continuous  stream  onto  a steam  jet 
which  blew  the  mass  into  the  air  like 
fireworks  so  that  they  fell  into  a water 
tank  in  globular  or  shot-like  form. 

Stone  workers  from  everywhere  soon 
heard  of  John  Harrison’s  discovery  and 
undertook  to  beg,  borrow,  buy  or  steal 
some  of  his  new  abrasive  material,  and 
he  soon  discovered  that  there  was  more  of 
a demand  for  Harrison’s  iron  shot,  as  it 
was  then  called,  than  for  his  services  as  a 
contractor,  so  he  moved  to  Middlebor- 
ough,  England,  near  the  iron  mines  of 
that  part,  in  order  to  be  convenient  to  the 
raw  material,  built  a plant  and  began  pro- 
ducing his  shot  on  a large  scale.  John 
Harrison  has  since  passed  on,  but  a large 
industry  has  been  built  around  the  pro- 
duction and  sale  of  the  material  based  on 
his  ideas  by  his  sons,  Harrison  Brothers, 
of  Middleborough,  England,  and  the  Har- 
rison Supply  Company,  of  Boston,  who 
have  since  perfected  iron  shot  to  hard 
steel  shot.  Its  use  has  been  extended 
into  other  industries  with  equal  economy, 
removing  sand  from  castings  among  other 
things. 

TEMPERING  GRANITE  TOOLS. 

Tempering  granite  steel  can  be  accom- 
plished by  a very  simple  method  While 


MONUMENT  DEALER’S  MANUAL 


153 


tempering,  keep  the  following  rules  in 
mind,  especially  rule  (2)  : Rule  (1)  Heat 
steel  dark  red  about  one-half  inch  higher 
than  its  thickness.  (2)  Hold  it  in  a water 
bath  up  to  the  line  where  red  heat  blends 
into  black.  (3)  Note  the  water  boiling  up 
and  around  the  steel.  (4)  As  soon  as  the 
water  quits  boiling  up  and  around  the 
steel,  (5)  withdraw  it  quickly,  (6)  lay  it 
aside  to  temper. 

It  is  not  difficult  to  hold  a dark  straw 
color  without  dipping  steel  into  the  bath 
the  second  time  and  can  be  done  by  con- 
centrating one  rule  (2),  (4)  and  (5). 

To  avoid  warping  thin  bush  blades, 
harden  them  in  oil  or  paraffine ; then 
draw  to  a dark  straw  color  over  the  fire. 

These  rules  cannot  be  used  to  temper 
soft  stone  or  marble  tools. 

REMOVING  TOOL  MARKS  FROM 
GRANITE. 

“Can  you  kindly  give  me  some  idea  as 
to  how  to  remove  tool  marks  from  rock- 
faced granite?  I have  tried  many  ways, 
but  without  success. — T.  A.  C.,  Cal. 

“In  using  blow-lamp  to  burn  off  tool 
marks  or  drill  holes  in  granite,  first  get 
the  lamp  burning  to  a blue  flame,  so  that 


REMOVING  TOOL  MARKS  WITH 
ACETYLENE  TORCH. 


it  will  not  smoke  the  stone.  Then  hold  it 
within  two  inches  of  the  place  to  be 
burned  off  until  the  stone  begins  to  peel, 
helping  it  by  tapping  the  face  of  the 
stone  with  a chisel  as  it  loosens,  always 
keeping  a considerable  distance  from  the 
edges  of  the  stone  or  any  weak  part  which 
would  readily  break  off  with  the  heat.” 
William  Dunbar. 

* * * 

There  are  usually  two  kinds  of  tool 
marks  on  rough  stone ; one  kind  is  made 
from  the  point  and  another  from  drill. 
Point  marks  are  easily  removed  by  taking 
a sharp  chisel  and  scraping  the  surface 
hard ; then  touch  it  up  a little  with  a lead 
pencil ; this  will  blur  the  point  marks.  If 
they  are  drill  holes,  about  the  only  way 
to  get  rid  of  them  is  to  box  it  up  and 
ship  it  back  to  the  man  who  made  it,  as  it 
is  very  difficult  to  do  anything  with  drill 
holes.  Cross  Brothers  Co. 

* * * 

It  altogether  depends  on  where  they  are 
located,  and  whether  they  are  on  the  head 
grain,  or  the  rift  of  the  stone.  If  on  the 
rift  and  not  near  any  edges,  we  use  a 
blow  torch  and  burn  them  out.  If  they 
are  on  the  head  grain,  let  them  alone  if 
you  have  not  stone  enough  to  break  them 
out.  The  blow  torch  is  dangerous  if  you 
have  had  no  experience  in  using  it  prop- 
erly. Young  Brothers  Co. 

* * * 

The  only  way  we  do  it  is  by  using  a 
plumbers’  torch.  The  heat  will  expand  on 
the  stone  and  it  will  come  off  in  thin 
pieces.  We  cannot  go  near  the  edges  or 
near  letters.  It  has  to  be  used  very  care- 
fully, and  after  it  is  done  the  stone  should 
be  kept  wet  with  papers  to  bring  the 
color  back.  J.  P.  Corskie  & Son. 

* * 

To  take  tool  marks  out  of  rock-faced 
granite,  the  first  thing  to  do  is  to  get  a 
good  blow  torch  and  see  that  you  get  a 
good,  hot  flame  from  it.  Hold  this  flame 
against  the  place  where  the  tool  marks 
are.  This  will  crack  the  granite  and 

loosen  it  up  in  small  scales.  With  the  left 
hand  hold  a sharp  chisel  about  one-half 
inch  wide.  Pry  the  blade  under  the 
scales  and  force  them  off.  This  must  be 
very  carefully  done  to  insure  a good  sur- 
face. One  must  be  very  careful  when 
heating  the  stone  near  a corner  or  an  edge 
for  fear  they  will  come  off  in  a large 
chunk.  Do  not  hold  the  flame  against 
any  place  too  long  for  fear  of  cracking 


154 


MONUMENT  DEALER’S  MANUAL 


the  stone  from  one  side  to  the  other.  By- 
being  careful  and  only  heating  the  stone 
in  a small  place,  then  prying  off  the  scales 
several  times,  this  process  does  the  work. 

J.  W.  Wyckoff. 

* * * 

Joseph  F.  Gast,  the  Chicago  monument 
dealer,  has  developed  an  interesting  use  of 
the  prestolite  torch  and  tank  for  granite 
work.  Mr.  Gast  has  for  about  six  months 
carried  on  experiments  with  the  Prest-O- 
Torch  as  an  aid  to  the  removal  of  tool 
marks,  stains  and  other  blemishes  from 
stone.  The  experiments  have  been  en- 
tirely successful.  Hitherto  this  com- 
pany, the  Gast  Monumental  Works,  has 
used  a gasoline  blow-torch  for  this  work, 
but,  according  to  Mr.  Gast,  Prest-O-Lite 
is  much  better  than  the  other  method. 
“After  experimenting  with  the  Prest-O- 


Lite  outfit,”  he  said,  “I  found  that  by 
using  the  different  sized  torches,  and  with 
the  scheme  for  regulating  the  pressure, 
one  can  do  wonderful  work.  By  heating 
the  granite  where  the  blemishes  or  defects 
are,  these  parts  will  lift  right  off  and 
leave  a nice,  clean,  uniform  surface.  Any- 
one who  has  been  accustomed  to  using 
the  gasoline  torch  outfit  could  use  this 
without  any  difficulty  whatever  and  do 
cleaner  and  faster  work.” 

In  removing  marks  of  any  kind  from 
stone,  the  stone  is  heated  as  in  the  il- 
lustration. The  heat  causes  the  surface 
of  the  stone  to  disintegrate  to  such  an 
extent  that  with  a suitable  chisel  a thin 
wafer  of  stone  can  be  pried  off.  The 
stone  is  left  with  a clean,  smooth  surface. 
This  torch  and  outfit  is  furnished  by  the 
Prest-O-Lite  Company,  of  Indianpolis,  Ind. 


COMBINATION  TRUCK  AND  BANKER. 


The  illustration  shows  a combination 
truck  and  banker  constructed  by  T.  M. 
Heagy.  It  can  be  taken  apart  and  placed 
on  a wagon  and  taken  to  the  cemetery  and 
was  made  at  a cost  of  about  ten  dollars. 
Any  country  blacksmith  can  make  it ; it 
will  carry  a ton. 

The  top  is  22  inches  wide  by  3 feet  long, 
and  is  made  of  2 inch  white  oak  lumber ; 
in  fact,  all  the  lumber  is  2 inch  white  oak. 


It  stands  22  inches  high ; the  top  boards 
can  be  lifted  off.  The  running  gear  is 
on  the  same  principle  of  a two-horse 
wagon,  with  the  exception  of  the  coupling, 
which  is  made  of  one-inch  round  iron. 
The  bottom  coupling  is  made  Y-shape; 
the  two  arms  shown  are  connected  with 
the  back  axle ; the  ends  of  this  coupling 
are  L-shape  and  are  dropped  down  into 
the  eyes  that  extend  through  the  front 


MONUMENT  DEALER’S  MANUAL 


155 


and  back  axles.  The  other  two  stay  irons 
run  from  top  to  bottom  and  from  bottom 
to  top  these  irons  are  L-shape  and  also 
drop  down  into  these  little  round  eyes, 
and  all  of  them  can  be  lifted  out  very 
easily.  The  tong  is  in  a Y-shape  and  is 
fastened  with  hooks.  It  can  be  lifted  off 
or  put  on  easily.  You  can  back  it  up  to 
a wagon,  roll  the  stone  on,  take  it  right 
into  the  workshop,  unhook  the  tongue, 
and  use  it  as  a banker.  It  will  carry  a 
ton  and  will  not  weigh  over  250  or  300 
pounds. 

A HANDY  LOADING  TRUCK. 

The  handy  loading  truck  illustrated  is 
good  for  trucking  stones  around  the  show 
room  and  yard  and  the  shop.  By  letting 
either  end  down  to  the  ground  a stone  can 
be  turned  over  on  the  .end  and  re-tuned 
until  it  is  on  a balance  on  the  truck,  which 
generally  is  over  the  wheels.  The  stone 
can  then  be  wheeled  to  a banker,  the  end 
of  the  truck  placed  upon  the  end  of  the 
banker,  and  the  stone  rolled  over  and  over 
until  it  is  in  a proper  place  for  cutting.  A 
stone  can  be  loaded  into  the  hind  end  of 
a wagon  by  placing  the  long  end  of  the 
truck  on  the  bottom  of  the  wagon  bed, 
then  turned  over  and  over  or  rolling  it 
until  it  is  placed  in  the  wagon.  This 
long  board  should  be  two  inches  thick  and 
made  of  hard  wood.  The  wheels  are  cul- 


tivator wheels  taken  from  the  field,  or 
similar  ones.  A good  axle  and  brace  are 
all  that  is  required  to  complete  the  vehicle. 

W.  J. 

WATER  AND  OIL  IN  AIR  TOOLS. 

We  have  overcome  the  trouble  with 
water  and  oil  coming  through  pneumatic 
tools  by  employing  an  auxiliary  tank  be- 
tween the  compressor  tank  and  the  tool. 
The  air  is  piped  to  and  from  the  top  of 
this  tank  and  at  the  bottom  we  have  a 
drain  with  drip-cock. 

Quincy  Avenue  Granite  Co. 

* * 

To  prevent  oil  and  water  coming  up  into 


air  tools  one  should  first  keep  his  air 
tank  warmer  and  by  so  doing  keep  the 
moisture  and  oil  vapor  from  condensing 
and  then  working  up  the  sides  of  the  tank 
and  into  the  pipe  to  the  tool.  If  this 
should  fail  to  remedy  the  trouble,  put  a 
piece  of  pipe  down  into  the  tank,  as  shown 
in  the  accompanying  drawing.  Extend  the 
outlet  pipe  down  into  the  tank  six  or  eight 
inches  and  when  the  water  works  up  the 
sides  of  the  tank  and  out  across  the  top 
it  will  run  down  the  pipe  inside  the  tank 
and.  drip  off  and  should  then  be  drained 
off.  J-  V.  GaEblER. 

WARMING  AIR  FOR  PNEUMATIC 
TOOLS. 

Regarding  the  use  of  a coil  of  pipe  to 
put  into  stove  to  heat  the  air  for  pneu- 
matic machines,  I would  like  to  know  if 
there  is  anyone  using  such  a device,  and 
I would  be  pleased  to  learn  just  about  how 
many  feet  should  be  in  the  coil  of  pipe  to 
insure  warm  air  for  a 1-inch  tool  or  a ^ 
tool  for  carving  and  lettering.  What 
would  be  the  best  kind  of  pipe  and  what 
size  pipe?  Would  not  the  heat  of,  the 


156 


MONUMENT  DEALER’S  MANUAL 


stove  evaporate  the  cold  air  and  turn  it 
into  water?  Are  these  coils  on  the  mar- 
ket? J.  T.  W.,  Pa. 

* * * 

The  illustration  here  shows  how  the  pipe 
is  used  in  a stove  to  heat  compressed  air. 
The  pipe  comes  from  the  air  receiver  into 
the  top  of  the  stove  and  out  at  the  side, 
going  to  the  pneumatic  tool.  This  is  a 
practical  workshop  stove  and  the  pipe  is 
at  the  top.  By  running  the  pipe  in  at  the 
top  the  air  is  gradually  heated.  One-inch 
pipe  is  sufficient  for  one  or  two  machines 
and  about  five  or  six  feet  is  necessary. 
Gas  pipe  is  the  proper  pipe  to  use.  Heat 
will  not  evaporate  the  cold  air  and  turn  it 
into  water ; it  .will  make  the  air  perfectly 
dry.  Air  heats  as  it  is  compressed  and  cools 
as  it  expands.  A coil  of  pipe  should  be 
placed  at  least  ten  inches  above  the  fire. 
Another  practical  way  to  use  pipe  is  to  coil 
it  around  the  stove  on  the  outside,  and 
unless  a workman  is  quite  a distance  from 
the  stove  this  plan  may  be  the  best,  be- 
cause the  air  would  be  too  hot  with  the 
pipe  inside.  Another  way  is  to  run  a pipe 
in  at  the  top  of  the  stove  and  turn  over 
and  repeat  back  through  another  hole  at 
the  top.  This  can  be  arranged  so  that  the 
pipe  can  be  raised  or  lowered  according 
to  the  amount  of  heat  in  the  stove.  Pipe 
will  not  last  as  long  on  the  inside  as  on 
the  outside.  Large  manufacturers  who 
have  boilers,  so  that  hot  water  is  easily 
procured,  find  that  the  best  way  to  heat  air 
is  by  using  a lead  coil  in  hot  water.  This 
is  probably  the  best  way  to  heat  air,  for 
the  reason  that  the  water  can  be  made 
warmer  very  quickly  or  can  be  cooled  off 
by  the  addition  of  cold  water,  thereby  in- 
suring a regular  temperature  of  air.  By 
putting  the  lead  coil  into  a barrel  of  water 
the  exhaust  of  steam  from  the  boiler 
keeps  the  water  and  air  hot.  Coils  of  pipe 
should  have  a drain  attached,  so  as  to  let 
out  all  the  water  every  morning  before 
starting  a fire  in  the  stove.  The  greatest 
heat  is  obtainable  from  the  coil  placed  in- 
side a stove,  but  it  is  claimed  it  is  not  as 
serviceable  as  on  the  outside  or  by  the  use 
of  a coil  in  water. 

There  are  in  use  quite  a number  of  coils 
used  to  heat  compressed  air,  using  lead 
pipe. 

The  J.  H.  Anderson  Granite  Co.,  of 
Chicago,  uses  a coil  in  the  stove,  as  illus- 
trated. I do  not  think  these  coils  are  on 
the  market  for  sale,  but  any  competent 
steam  fitter  or  plumber  can  rig  up  this 
outfit.  Foreman. 


Regarding  the  merits  of  several  meth- 
ods of  heating  compressed  air  for  pneu- 
matic tools.  We  have  tried  the  -various 
methods  suggested  and  also  the  following, 
which  we  find  the  cheapest  and  most  satis- 
factory: Simply  run  a straight  piece  of 

pipe  inside  the  stovepipe,  letting  it  enter 


HEATING  THE  AIR  FOR  PNUEMATIC 
TOOLS. 


and  pass  out  through  elbows.  The  pipe 
should  be  of  ample  size,  so  that  the  air 
will  not  have  to  travel  too  rapidly.  A 
P/i-inch  pipe,  6 or  8 feet  long,  will  be 
large  enough  for  six  hand  tools.  Accom- 
panying sketch  will  make  our  meaning 
plainer.  There  is  less  danger  of  heating 
the  air  too  hot  for  the  rubber  hose  with 
this  arrangement  than  with  a coil  of  pipe 
inside  stove. 

C.  H.  Grant  Granite  Co. 

* * * 

In  shops  where  they  do  not  have  warm 
compressed  air  one  can  keep  the  tool  from 
being  so  cold  by  wrapping  a string  around 
it.  A good,  strong  string  should  be  used, 
preferably  the  kind  called  top  string.  Tie 
one  end  around  something  solid  and  turn 
the  machine  around  carefully  so  that  it  is 
wound  closely.  It  is  a good  idea  to  put 
some  glue  on  the  string  at  different  places 


MONUMENT  DEALER’S  MANUAL 


157 


to  make  it  firm  and  compact.  The  string 
should  be  tied  at  the  top  part  of  the  hand 
held  to  prevent  the  knot  from  being  in  the 
way  and  bothering  the  hand.  One  should 
wrap  the  machine  in  thick  cloth  every 
evening  before  leaving  the  shop.  This 
keeps  it  warmer  and  it  will  be  in  better 
condition  to  use  the  next  morning. 

WEDGE  LEAD  AND  JOINTING 
MONUMENTS. 

“We  have  been  using  for  a number  of 
years  wedge  lead  for  jointing  granite  mon- 
uments, and  we  find  that  after  the  lead  is 
exposed  to  the  weather  for  some  time 
that  it  discolors  and  does  not  match  the 
stone,  and  we  have  known  of  other  deal- 
ers who  have  used  a mixture  of  some 
kind  which  has  been  made  to  match  the 
stone  and  which  hardens  reasonably 
quick,  and  we  are  writing  to  ask  that  you 
advise  us,  if  you  can  do  so,  just  what  this 
preparation  is  and  how  it  is  used.  We 
have  also  used  imported  Puzzolan  cement, 
but  we  find  that  in  some  cases  it  stains 
the  stone.” — T.  M.  Mbl.  Co. 

The  recipe  we  use  for  putty  to  set  mon- 
uments is  as  follows:  One  part  of  dry 

white  lead  to  two  parts  of  clean,  finely 
screened  granite  dust  (Barre).  Mix  well, 
dry,  then  add  Copal  varnish  until  a thick 
putty  is  formed,  mixing  with  hands  same 
as  kneading  bread.  Roll  out  into  rolls 
about  the  thickness  of  little  finger,  place 
around  edge  of  monument  and  set  stone 
on  top,  then  cut  the  edges  with  a sharp 
knife.  If  round  or  bead  joint  is  required, 
use  common  tuck  pointing  tool.  This  putty 
can  be  colored  to  any  shade  of  granite  by 
using  dry  coloring. 

Geo.  Archer  & Son 

Regarding  leading  joints,  a cheap  and 
permanent  substitute  for  wedge  lead  can 
be  made  of  pure  white  lead  and  stone 
dust.  Make  to  consistency  of  putty  and 
work  into  the  joint  the  same  as  you  would 
putty.  This  can  be  trimmed  off  flush  with 
a sharp  knife  or  beaded  with  a mason’s 
beading  tool.  This  mixture  must  be  made 
several  days  before  being  used  and  kept 
in  a covered  can.  Should  any  oil  get  into 
the  stone  from  the  white  lead,  it  will 
quickly  evaporate.  Where  the  mixture  is 
made  up  ahead,  it  is  not  liable  to  stain 
the  stone,  as  the  stone  dust  takes  up  the 
oil.  Meyer’s  German  cement  can  be  used 
in  the  same  manner,  but  is  rather  ex- 
pensive. Good  Portland  cement  and  stone 


dust  can  also  be  used  in  the  same  man- 
ner. Deming  Hardware  Co. 

The  only  cement  we  can  recommend  is 
our  Meyer’s  German  cement.  We  believe 
this  is  just  what  the  party  requires. 

Michael  Cohen  & Co. 

We  use  almost  exclusively  wedge  lead, 
but  we  have  also  used  a preparation  of 
white  lead  and  granite  dust  with  a little 
varnish  added  to  aid  the  drying.  Such  a 
preparation  gives  good  results  and  can 


be  colored  to  suit  the  granite.  Method 
of  using  the  above  is  to  press  into  the 
joints  and  either  clean  off  smooth  or  use 
a beading  tool.  William  Dunbar. 

The  best  mortar  that  can  be  used  for 
jointing  monuments  is  our  Stonekote 
monument  mortar,  No.  1119.  This  is  white 
and  waterproofed ; will  not  stain  either 
stone  or  granite.  This  kind  of  cement 
should  be  used  for  all  except  the  surface 
pointing.  By  crushing  the  spalls  of  the 
monument  you  are  setting  and  screening 
through  a 20  mesh  screen,  then  mixing  two 
pounds  of  those  siftings  with  one  pound 
of  the  monument  cement,  you  can  darken 
the  material  for  the  pointing  of  the  sur- 
face joints. 

The  Garden  City  Sand  Co. 

A good  composition  to  use  to  joint 
granite  monuments  is  German  cement 
mixed  with  granite  dust.  For  light  ham- 
mered granite  about  three  parts  of  cement 
and  one  part  of  clean,  fine  dust.  This 
cement  always  sets  a little  darker  than 
when  it  is  wet.  A good  plan,  if  you 
cannot  get  granite  or  marble  dust  lighter 
than  the  stone,  is  to  put  in  a little  white 
lead,  which  will  make  the  color  lighter. 
If  you  are  jointing  a dark  stone  like  dark 
Quincy  granite,  mix  some  lamp  black  in 
the  solution,  which  will  help  get  the  color 
required.  This  mixture  can  be  put  on 
with  a small  trowel.  It  is  always  best  to 
cut  four  pieces  of  corking  lead  and  place 
them  at  each  corner,  so  that  the  mixture 
will  set  the  proper  thickness,  otherwise  it 
would  generally  squeeze  out.  It  is  hard 
to  clean  a joint  nicely  unless  you  have  a 
chisel  made  as  illustrated  here.  The  chisel 
is  very  handy  and  one  can  set  the  block 


158 


MONUMENT  DEALER’S  MANUAL 


perpendicular  while  sliding  it  along  the 
joint.  J.  W. 

* * * 

Regarding  my  experience  with  wedge 
lead,  cement  and  white  lead,  when  used 
for  filling  joints  in  granite,  I have  never 
seen  many  cases  where  Puzzolan  cement, 
or  any  of  the  stainless  cements  made  in 
this  country,  stain  the  stone  around  the 
joints,  providing  the  cement  was  properly 
mixed  and  where  clean  sand,  water  and 
tools  were  used.  I think  this  very  im- 
portant, especially  on  mausoleum  work 
and  where  a beading  tool  is  used  for  point- 
ing the  joints.  In  some  cases  where  acid 
is  used  to  clean  the  stone  and  where  the 
acid  is  not  thoroughly  washed  out  of  the 
joints,  it  will  cause  stains  to  appear  around 
the  joints  and  make  it  appear  as  if  the 
cement  caused  the  stains. 

The  mixture  to  which  your  inquirer  re- 
ferred is  composed  of  two  parts  of  gran- 
ite dust  to  one  part  of  dry  white  lead. 
These  are  thoroughly  mixed  together  dry, 
then  enough  Copal  varnish  is  added  to 
make  a thick  paste.  The  mixture  is 
kneaded  until  it  is  like  thick  dough.  It 
is  then  rolled  out  into  long  round  strips 
between  the  hands  and  these  strips  are 
then  laid  around  the  bed  of  stone.  The 
next  stone  is  then  set  or  lowered  on  top 
of  this  bed  and  the  paste  is  trimmed  off 
flush  with  the  face  of  stone.  Pieces  of 
sheet  lead  should  also  be  placed  on  each 
corner  of  the  stone,  otherwise  the  weight 
of  the  second  stone  will  press  the  paste 
out  of  the  joint  too  much. 

This  paste  can  also  be  used  for  filling 
joints  in  mausoleums.  When  used  in 
buildings  the  cement  should  be  well  raked 
out  of  joints  when  stone  is  set  and  then, 
after  building  is  set,  the  paste  is  pressed 
into  the  joints.  A beading  tool  can  be 
used  or  the  paste  trimmed  flush  with 
joints.  H.  F.  Gardner. 

WIRE  FOR  PNEUMATIC  HOSE. 

The  wire  recommended  for  use  for  the 
hose  leading  to  your  pneumatic  tool  is 
bailing  wire.  It  can  generally  be  found 


at  any  stable  where  they  use  hay.  If  you 
have  a hose  plier,  cut  a piece  the  length 
required,  and  with  the  plier  bend  the  two 
ends  in  opposite  directions  and  place  the 
wire  around  the  hose.  Cross  the  ends. 
They  will  come  nearly  right  for  the  two 
plier  holes.  Insert  one  end  in  plier  hole, 
pull  the  plier  over  and  catch  the  other  end, 
then  squeeze  the  handle  ends  together 
tightly ; alsp  twist  the  wire  at  the  same 
time,  unloose  the  plier  from  the  wire  and 
pound  the  ends  of  the  wire  down  flat 
against  the  hose.  It  is  generally  advis- 
able to  put  two  wires  on  the  hose.  It 
will  insure  a tighter  hold.  If  you  have 
not  a hose  plier  use  an  ordinary  pair  of 
pliers.  The  wire  will  have  to  be  cut 
longer.  Clasp  both  ends  with  this  and 
twist  several  times  until  the  wire  is  tight. 
Pound  down  the  wire  as  when  using  hose 
pliers. 


WRENCH  MADE  FROM  PIPE 
FITTINGS. 


The  accompanying  illustration  shows  a 
convenient  wrench  made  from  pipe  fitting 
for  the  purpose  of  tightening  nuts  that 
are  inaccessible  to  an  ordinary  wrench. 
The  wrench  is  made  by  filing  four  grooves 
with  a common  reducer,  as  shown  in  Fig. 
2,  to  fit  the  corner  of  the  nut.  Instead 
of  filing  grooves  in  the  reducer,  studs  may 
be  screwed  through  the  sides  as  shown  in 
Fig.  3.  Reducers  of  different  size  should 
be  used  to  fit  different  nuts.  A hole 
may  be  drilled  through  the  connections 
and  a pin  inserted  to  prevent  them  from 
unscrewing  while  the  wrench  is  used  for 
tightening  or  loosening  a nut. 


MONUMENT  DEALER’S  MANUAL 


159 


!!!lllll!li! 


ADVERTISERS’ 

REFERENCE 

SEC 

T I O N 

A buyers’  guide  to  announcements  of 
firms  offering  supplies  and  equip- 
ment for  the  monument  craft. 

INDEX  TO  ADVERTISEMENTS. 

Abendroth,  F.  J.  H 

.176 

Melrose  Granite  Co 

.161 

Adrian,  Wm.  M 

.190 

Monumental  Sales  & Supply  Co.. 189 

Air  Brush  Mfg.  Co 

.191 

Monumental  News  Sales  Record. 

,178 

Anderson-Friberg  Co 

.183 

National  Art  Bronze  Works  Co 

.185 

Archer,  Geo.  & Son 

.192 

North  Carolina  Granite  Corp... 

.169 

Barclay  Bros 

,166 

Norwalk  Vault  Co 

.163 

Batchelder,  J.  M.  & Son 

187 

Park  and  Cemetery 179 

, 80 

Bliss  Design  Co 

189 

Patch,  F.  R.  Mfg.  Co 

.190 

Bonazzi  & Bonazzi 

.191 

Presbrey-Coykendall,  The,  Co.. 

.162 

Bond,  Geo.  E.  Co.,  Inc 

,182 

Robins  Bros 

.183 

Chester  Granite  Quarries,  Inc. . 

.160 

Rudy  Bros.  Co 

.170 

Crumb  Quarry  Co 

.168 

Rusk,  Duncan  

.188 

Deming  Hardware  Co.,  Inc.... 

.191 

Russell,  Albert  & Sons  Co 

.171 

Dodcelano  Monument  Co 

.181 

Sargent,  J.  D.  Granite  Co 

.169 

Earl,  Chas.  F.  & Co 

.189 

Sasgen  Derrick  Co 

.192 

Fenn,  C.  E.  & Co. 

.174 

Schilling,  George  0.,  Bronze  & 

Flaschner,  L.  & Co 

192 

Sign  Works  

.172 

! Foster  & Hosier  

.177 

Shield,  Waldron  & Co 

.167 

! French  Creek  Granite  Co 

.188 

Syracuse  Industrial  Gas  Co 

.184 

i Georgia  Marble  Co 

.173 

Thomas,  Wm.  M 

.186 

1 Gerrard-Barclay  Granite  Co.... 

.182 

Townsend,  Townsend  & Co 

.175 

[ Grav  Eagle  Marble  Co 

,187 

Townsend,  Wm.  C.  & Co 

.181 

| Harsch,  John  Bronze  & Fdy.  Co. 185 

Trow  & Holden  Co 

.184 

i Johnson  & Gustafson 

,165 

Vulcan  Co 

191 

1 Littlejohn,  Odgers  & Milne..... 

.164 

Willison,  W.  0 

,186 

160 


MONUMENT  DEALER'S  MANUAL 


CHESTER 

GRANITE 

The  fine  grain,  dark 
blue  granite,  that 
shows  off  lettering 
and  tracing  to  the 
best  advantage. 


CHESTER 
GRANITE 
QUARRIES,  INC. 

Successors  to  Hudson  & 
Chester  Granite  Co. 

CHESTER,  MASS. 


MONUMENT  DEALER’S  MANUAL 


161 


Ulllllll 


'!! 


STOP! 


Refer  always  to  THE  MELROSE 
GRANITE  CO.  when  in  the  market 
for  Red  or  Gray  St.  Cloud  Granite. 

Owing  to  the  fact  that  we  employ 
our  own  staff  of  designers,  we  are 
enabled  to  turn  out  work  that  is 
practical  for  our  granites.  Practical 
monuments  in  your  showroom  exe- 
cuted in  the  Beautiful  Melrose  Red 
or  Melrose  Gray  are  bound  to  attract 
attention  and  sales  are  made  easy. 

We  back  our  reputation  and  your 
confidence  with  Five  Large  Quarries 
and  the  Largest  Monumental  Plant  in 
the  TV \ orld  for  the  finishing  of  your 
orders. 

Play  MELROSE  SERVICE  First , 

East  and  Always  and  you  will  be 
playing  safe  — 

MELROSE  GRANITE  CO. 

ST.  CLOUD,  MINN. 


162 


MONUMENT  DEALER’S  MANUAL 


MONUMENT  DEALER’S  MANUAL 


163 


lyilllllllllllllllllllllM  llllllllllllllllllllllll  ll!llillli!i!l  :!i!  Illllllll 

i 

imbedded  Visible  imbedded  Powerful 

Steel  fand/es—^  Cement  Seif  ssteel  rem  forcing  Arc b/ no  Corer^ 

' JftCf  ' ^ ^ 

i 

l 

A SALES  PRODUCER  FOR 

i 

H 

THE  MONUMENT  DEALER 

| 

5 

The  Norwalk  vault  is  more  than  a profitable  side  line  to 

1 

many  monument  dealers — it  is  their  best  sales-promoter — an 

1 

1 

advance  agent  that  gets  them  an  introduction  to  their  best 

, 

1 

prospects  before  they  could  get  acquainted  with  them  in  any 

i 

1 

other  way. 

1 

l 

Get  this  point  firmly  fixed  in  your  mind — every  Norwalk 

= 

vault  you  sell  goes  to  a future  monument  buyer.  You  get 

l 

acquainted  with  your  prospect,  get  his  confidence  and  his 

| 

1 

business  before  the  time  to  sell  him  a monument. 

-- 

1 

Then  you  make  a substantial  profit  on  your  vault  sales,  too 

1 

m 

— a bigger  percentage  of  profit  than  most  dealers  make  on 

n 

M 

their  monument  business. 

1 

n 

You  make  the  vaults  yourself — no  bother  with  freight  de- 

1 

1 

lays ; no  skilled  labor  requried ; you  have  exclusive  agency — 

| 

M 

no  competition,  if  your  territory  is  still  open. 

- 

Write  us  today  and  ask  us  if  your  territory  is  taken,  and 

! 

H 

let  us  tell  you  what  you  can  do  with  the  Norwalk  to  help 

n 

m 

your  business. 

1 

| 

NORWALK  VAULT  CO. 

1 

1 

81  Prospect  Street  NORWALK,  OHIO 

164 


MONUMENT  DEALER’S  MANUAL 


ESTABLISHED  1889 


ARTISTIC  MEMORIALS 

In  Barre  Granite 

BARRE,  VERMONT 


MONUMENT  DEALER’S  MANUAL 


165 


166 


MONUMENT  DEALER’S  MANUAL 


Monument  dealer's  manual 


16? 


168 


MONUMENT  DEALER’S  MANUAL 


Crumb  Quarry  Company 

OWNERS  OF  THE 

John  B.  Sullivan  Quarries 
The  Crumb  Quarries 

Joseph  New  all  & Co.,  Quarries 
The  “ Klondike ” Quarries 


Fine  Grained  Blue  - IV kite 

Westerly  Granite 

ROUGH  STOCK  ONLY 

Crumb  Quarry  Company 

FRANK  A.  SULLIVAN , President  and  Treasurer 

WESTERLY,  R.  I. 


MONUMENT  DEALER'S  MANUAL 


169 


FINISHED 

MONUMENTS,  MAUSOLEUMS  AND  BUILDING  WORK 

WHITE  MOUNT  AIRY  GRANITE 

J D.  SARGENT  GRANITE  CO.,  Mount  Airy,  N.  C. 

GEO  L.  MEAD,  Eastern  Representative  10  E.  43rd  St.,  New  York  City 


WHITE  MOUNT  AIRY  GRANITE 

IN  THE  ROUGH  — ANY  SIZE 

WRITE  FOR  PRICE  LIST 

NORTH  CAROLINA  GRANITE  CORP.,  Mount  Airy,  N.  C. 

GEO.  L.  MEAD,  Eastern  Representative  CHAS.  H.  GALL,  Western  Representative 

10  E.  43rd  St,,  New  York  City  127  N.  Dearborn  St.,  Chicago,  III. 


170 


MONUMENT  DEALER’S  MANUAL 


Rudy  Mausoleum  Windows 

America’s  foremost  workers  in  Stained  Glass.  Patronized  by  leading 
architects  and  mausoleum  builders.  Stained,  Mosaic  and  Leaded 
Glass  windows  from  the  RUDY  STUDIOS  are  found  in  the  finest 
Churches,  Residences,  Institutions  and  Mausoleums  throughout  the 
country. 

For  twenty-six  years  Rudy  Windows  have  been  used  by  such  weli 
known  Mausoleum  Builders  as  the  W.  W.  Leland  Company,  Harri- 
son Granite  Company,  Farrington,  Gould  & Hoagland,  Smith  Granite 
Company,  Geo.  Dodds  & Sons,  Campbell  & Horigan,  Albert  Weiblen 
Marble  & Granite  Company,  and  other  dealers  throughout  the 
country. 

Prices  from  less  than  One  Hundred  Dollars  upward.  Designs  cheer- 
fully furnished.  No  single  feature  in  a Mausoleum  attracts  more 
attention  than  the  Window.  If  it  is  a RUDY  MAUSOLEUM  WIN- 
DOW, it  represents  the  finest  traditions  of  the  stained  glass 
workers’  art.  1 : : 

Prompt  attention  to  correspondence.  Quick  Deliveries.  Exclusive 
Designs. 

The  Rudy  Brothers  Company 

Offices:  South  Highland  and  Centre  Aves.,  Ease  End,  Pittsburgh,  Penna. 
Studio  and  Shops:  York,  Penna. 


MONUMENT  DEALER'S  MANUAL 


171 


' V'  THESE  JrREES  AND  THIS  CfRCtJUft  PLOT 
, WERE  DEDICATED  AS  A 

SOLDIERS  AMD  SAILORS  MEMORIAL  CIRCLE 

IN  HONOR  0?  THE  VINELAND  HEROES  WHO  LOST  THEIR  LIVES 

*1017.*-*  1919  : 

ESTABLISHED  UNDER  THE  AUSPICES  CP 
THE  DIAMOND  SOCIAL  .CLUB,  THE  CITY  BEAUTIFUL  COMMITTEE 
AND  THE  PARK  AND  SHADE  TREE  COMMISSION 
AND  FINANCED  BY  POPULAR  SUBSCRIPTION 
APPROVED  AND  SANCTIONED  BY  THE  CITY  COMMISSIONERS 

' !H  tmORt  OF  A FREE  AWO  LIBERTY  IOTMC  PEOPLE 

THEIR  IRUH  WrLL  WOH  THE  VICTORY,  THEIR  VALOR  v 

HAS  PRESERVED  THE  SACRED  SIGHTS  OF  HUMAHlTY,  - . 

AHD  THEY  MADE  THE  SUPREME  SACRIFICE  THAT 
ALL  PEOPLES  MIGHT  EH  JOY  THE  PEACEFUL  PURSUITS  . - 
OF  LIFE,  LIBERTY  ARD  RAPP1RESS. 

' THEY  AHsWEREO  THE  CALL  CAIUR71Y 
THEY  FOUGHT  ARD  WOH  THE  VICTORY 
WORTHY  SSHS  OF  HEROIC  FIRES 
. > WHO  WOH : AiERIOAH  LIBERTY.  ^ 

St.  .DEDICATED  MAY  30, 1919.'  fig 


Cast  and  Finished  for  O.  J.  Hammell  Co., 

Pleasantville,  N.  J.,  the  Designers. 

BRONZE 

MEMORIAL  TABLETS  AND 
HONOR  ROLLS 


ALBERT  RUSSELL  AND  SONS  CO. 

Established  1840 

128  Merrimack  Street  - - Newburyport,  Mass. 


illlllllliil! 


MONUMENT  DEALER’S  MANUAL 


George  O.  Schilling  Bronze  & Sign  Works 

102-116  East  North  Street,  Rome,  New  York 

/ Bronzes  For 


Manufacturers  of  Memoria 
Monument  Trade 


MONUMENT  DEALER’S  MANUAL 


173 


Foley  Monu- 
ment. 

Cheyenne,  Wyo. 
White  Georgia 
Marble. 
Erected  by 
Bradley  & 
Lafontaine. 


The  Finest  Monuments  or  the 
Smallest  Markers 

are  equally  adapted  to  beautiful  execution  in 

4xed  Silver  Gray  or  IGhite  Georgia  Marble 

Many  of  the 'best  dealers  find  they  can  realize 
a bigger  profit  and  get  better  service  by 
putting  their  best  work  in  Georgia  Marble. 


Georgia  Marble  Co. 

Main  Office , Tate , Ga. 

New  York  Chicago 

1328  Broadway,  Marbridge  Bldg.  231  Insurance  Exchange  Bldg. 


174 


MONUMENT  DEALER’S  MANUAL 


Attention,  Dealers! 

SWENSON 

Hard  GRAY  Durable 


The  Above  Group  of  Statuary  Cut  Out  of  Swenson  Gray  § 

SAWED,  POLISHED  OR  HAMMERED  I 
SLABS,  BASES  AND  HICKEY  MARKERS  I 
TIME  SAVING  ROUGH  STOCK  PATTERNS  | 

Very  Reasonable  Prices  on  Request. 

Quick,  Dependable  Service.  Satisfaction  Guaranteed  | 

C.  E.  FENN  & COMPANY  [ 

Exclusive  Sales  Representatives  of  Swenson  Gray  Granite 

with  exception  of  Mausoleums  and  Building  Work.  jj 

623  First  National  Bank  Building 

CHICAGO,  ILLINOIS  1 


MONUMENT  DEALER’S  MANUAL 


175 


ITALIAN  STATUARY 

Whenever  you  need  a Statue  you  can  save  money  by  writing 
us  for  prices. 


With  our  own  offices  at  Carrara,  all  Statues  are  imported  direct, 
and  there  are  no  intermediate  profits  that  you  pay  for.  We  give 
you  the  benefit  of  first  cost. 

Every  Statue  is  guaranteed  a Work  of  Art.  Your  money  will  be 
refunded  if  any  Statue  is  not  as  represented. 

Write  us  for  prices  on  all  your  work  in  granite  and  marble.  All 
orders  will  be  executed  with  promptness  and  dispatch. 

TOWNSEND  TOWNSEND  & CO. 

Foremost  Wholesale  House  Since  1865 
453  West  21st  Street, 


Studios  at 
Carrara,  Italv 


New  York  City 

Barre,  Vermont 
Aberdeen,  Scotland 


MONUMENT  DEALER’S  MANUAL 


MONUMENT  DEALER’S  MANUAL 


177 


The  Latest 

High-Grade  Pneumatic  Plants 

GEAR  OR  BELT  DRIVEN 

Made  Expressly  lor  the 

MARBLE  AND  GRANITE  TRADE 

Air  Compressors,  Tanks,  Motors  and  Engine  a Electric  and 
Belt-Driven  Polishing  Machines 

Kotten  Pneumatic  Surfacers 
Drills  and  Tools  for  the  Trade 


Pneumatic  Plant.  No.  A-G  Electric.  Gear-Driven.  3-H.  P.  Motor  for 
4 tool  capacity. 


We  carrv  a full  supply  of 

HOSE.  CHISELS,  DRILLS, 

and  General  Supplies  for  Pneu- 
matic Tool  Workers. 

Write  us  for  anything  in  the 
Pneumatic  Line. 

FOSTER  & 
HOSLER 

Established  30  years 

431  So.  Dearborn  Street 
CHICAGO,  ILL. 


The  “Eureka  Monument  Setter” 


The  Above  illustration  shows  the  EUREKA  SETTER  in  use 

Cut  above  shows  how  one  can  easily  handle  an  all-polished  or  fine  axed  die  with 
THE  EUREKA  SETTER.  The  die  now  rests  on  the  inch  blocks  and  is  ready  to  be 
let  down  onto  the  leads,  which  have  been  placed  on  each  corner  of  the  base  to 
allow  for  the  leading  joint.  The  leads  are  about  %-in.  in  thickness  and  as  the 
EUREKA  SETTER  is  but  1/16-in.  thick,  it  can  be  easily  removed  after  the  die 
has  been  landed  on  the  leads.  This  die  is  5-6  x 3-0  x 3-8  and  weighs  5 tons.  It  is 
being  handled  with  a No.  2 EUREKA  SETTER.  You  do  not  see  any  worried  look 
on  the  face  of  the  man;  he  has  nothing  to  worry  about,  he  knows  that  he  is  on 
the  safe  side.  He  can  trust  the  EUREKA  SETTER  because  it  has  never  failed 
to  do  the  work  and  do  it  right.  For  sale  by 

EAglnue  431  So.  Dearborn  St.,  CHICAGO 


178 


MONUMENT  DEALER’S  MANUAL 


Know  Just  PKhat  Every 
Monument  Costs 

By  keeping  an  accurate  record  of  every  detail  of  cost  and  expense  in 
connection  with  every  monument  you  sell 

The  Monumental  News  Sales  Record 

a ready-made  cost-keeping  system  that  tells  at  a glance  just  what  the 
job  cost  you  at  every  stage  of  its  progress. 


Mont.  No Material 

Bought  of  

Sold  to  

Erected  at  


Date  Ordered. 
“ Rec’d  . .. 


Erected 


Cost  at  Quarry  

Freight  from  Quarry.  . . , 
Hauling-,  Depot  to  Shop. 
Freight  to  Destination  . . 
Hauling  to  Cemetery 

Lower  Base  

Markers  

Corner  Posts  

Base  Name  

Inscriptions  

Monogram  

Tracing  

Foundations  

Setting  

Boxing  

Incidentals  


Agent’s  Commission  

Percentage  to  cover  Rent,  Taxes.  . . 
Interest,  Insurance,  Bad  Debts,  etc. 

Total  Cost  


Contract  Price,  $ . 
Cost  . 
REMARKS. 


Sketch  of  Monument  Here. 


Reduced  fac-simile  of  page  of  Sales  Record. 

The  pages  are  854x11  inches,  with  the  complete  cost-history  of  a monu- 
ment on  each  page.  Handsomely  and  strongly  bound  in  cloth  with 
leather  back  and  corners.  A permanent  record  of  every  job  for  ready 
reference.  Each  book  provided  with  an  index.  Begin  now  to  keep  a 
cost  record  of  every  job  with  this  book. 

MADE  IN  TWO  SIZES 


200  page  Sales  Record  with  index,  postpaid $1.00 

200  page  Sales  Record  with  index,  postpaid ......  $4.50 

200  page  Sales  Record  with  Monumental  News  one  year.  . 

200  page  Sales  Record  with  Monumental  News  one  year.  . 

Order  Yours  Today 


. $5.50 
. $0.00 


MONUMENTAL  NEWS,  536  S.  Clark  St.,  CHICAGO 


iilllll 


MONUMENT  DEALER’S  MANUAL 


179 


Amimmmmmmmmmmmmmmmmmmmmimmmmmmmmmmmmmmmmmmmmmmmmmimmmmmmmimmmmmmjl:  lll!!lll!ll!lii!l!ll!;i!i!ll!l!!l!|!lll!llll  llll  llll  l!llillll!lill!illl!!lll!li!l!J]= 

1 

Are  You  Interested 

A 

| 

in  the  Cemetery? 

A 

AA 

If  you  are,  you  will  want  to  read  PARK  AND  CEMETERY, 

M 

the  practical  monthly  journal  of  cemetery  management  and 

A 

development.  Illustrated  articles  in  every  issue  cover  every 

11 

angle  of  organizing,  planning  and  developing  a modern 

■ 

n 

cemetery. 

A 

M 

Our  consultation  department  answers  questions  on  every 

| 

topic  pertaining  to  the  cemetery.  You  can  ask  questions  and 

■ 

H 

have  them  answered  free  by  practical  men. 

§ 

The  legal  department  will  answer  your  inquiries  on  mat- 

M 

ters  of  cemetery  law,  fully  and  intelligently,  free  of  charge. 

- 

= 

Subscribers  are  privileged  to  ask  questions  of  this  department 

1 

at  any  time.  This  service  alone  is  worth  many  times  the 

1 

| 

price  of  a year’s  subscription  to  you. 

1 

As  a special  inducement  to  get  your  name  on  our  subscrip- 

f 

- : 

tion  list  now,  we  are  going  to  offer  you  free,  while  our  supply 

i 

M 

lasts,  a copy  of  Stephen  Child’s  book,  “Landscape  Architec- 

| 

A 

ture,”  with  your  order  for  a year’s  subscription. 

| 

A' 

This  work  embodies  a brief  history  of  landscape  architec- 

1 

ture,  and  a statement  of  its  general  principles  and  practice. 

1 

I 

The  various  schools  and  styles  of  landscape  gardening  are 

A 

described  and  contrasted.  One  section  deals  with  the  land- 

p 

scape  architecture  of  ancient  times  and  of  the  Italian  and 

= 

1 

Mediaeval  periods,  illustrating  typical  examples  of  the  formal 

n 

; 

Italian  style.  Part  Three  is  devoted  to  English,  French  and 

A 

1 

American  Design,  describing  the  development  of  the  distinc- 

fj 

§ 

tive  natural  style  of  America  ; eighteen  illustrations  of  typical 

M 

H 

plans  and  photographic  views. 

A 

Copy  of  this  work  free  with  one  year’s  subscription  to 

1 

PARK  AND  CEMETERY  at  the  regular  price  of  $2.00  a 

1 

" 

year.  Only  a limited  number  of  copies  ; when  they  are  ex- 

i 

p 

hausted,  this  offer  expires. 

1 

■ 

PARK  AND  CEMETERY  and  MONUMENTAL  NEWS 

A 

both  for  one  year,  $3.50,  including  a free  copy  of  Child’s 

1 

A 

“Landscape  Architecture.” 

A 

A 

SEND  YOUR  ORDER  TODAY 

I 

Parti  and  Cemetery  : 536  S.  Clark  St.,  Chicago 

itir 

mmi  111 111  iiiiiiiiiiiii  iiiiiiii  ; mu  n i i 1 1 i i i n i i n i n mm  i mmmmmmimimii  mum  n m mini  1 1 1 m mimmimm  mimiiiii 

A 

180 


MONUMENT  DEALER’S  MANUAL 


^llll!lll!lll!ll!lll!llll!lll!ll!illlllll!lllllllllll!!llllll!llllill^ 

1 Modern  Systems  of  Burial  Records 

| INTERMENT  RECORDS ' LOT  DIAGRAM  BOOKS  & 

I INDEX  BOOKS  FOR  CEMETERIES  OF  ALL  SIZES 

A CCURATE  and  complete  records  of  every  interment 
/-%  are  required  by  law  in  many  states  and  will  soon  be 
1 ‘ compulsory  everywhere.  Every  live  cemetery  maria-, 

1 ger  realizes  that  complete  records  are  the  first  necessity  of  a 

H well-managed  cemetery.  They  avoid  future  litigation  and 

confusion  in  locating  graves  and  in  establishing  ownership 

I of  lots. 

No  system  of  cemetery  records  is  complete  without  three 
things  : First,  a detailed  record  of  the  important  facts  about 
every  interment ; second,  a lot  diagram  to  immediately  locate 
every  grave ; and  third,  an  index  by  which  every  entry  in 
either  interment  record  or  lot  book  may  easily  be  found. 

The  “Park  and  Cemetery”  systems  of  record  books  embody 
m simple  and  complete  forms  for  all  three  of  these  branches 

of  records.  They  are  readily  adapted  to  cemeteries  or  sec- 

II  tions  of  any  size,  and  are  in  successful  use  by  over  a thou- 

| sand  cemeteries. 

Interment  Record  Forms,  Lot  Diagram  Forms 
and  Index  Books  to  fit  the  needs  of  any  cemetery 

1 Combination  Books — Three  in  One 

Our  Combination  Books,  containing  Interment  Record,  Lot 
Diagram  and  an  Index  in  one  book,  are  widely  used  in  cem- 
eteries that  want  to  provide  for  either  1,000  or  2,000  inter- 
ments or  less  and  whose  lots  are  30  feet  square  or  less. 

Any  or  all  of  these  forms  can  be  bound  in  one  book  where 
special  books  are  desired  to  meet  unusual  conditions.  Special 
books  can  be  printed  to  order,  containing  your  own  special 
forms  or  any  number  of  pages  of  our  forms  and  prices  will 
be  quoted  on  these  on  request. 

Send  for  our  new  revised  catalog  containing  full  sized  duplicates 
of  the  pages  for  all  of  our  forms,  ruled  and  printed  exactly  as  they 
m appear  in  the  hooks. 

1 PARK  AND  CEMETERY 

536  S . Clark  St . CHICAGO 

mu ' -v1'  ' ilium l 

iiiiiiiiiiiiiiiiiiiiiiiiiim 

MONUMENT  DEALER’S  MANUAL 


181 


182 


MONUMENT  DEALER'S  MANUAL 


Gerrard-Barclay 
Granite  Co. 

Barre, 

Vermont, 

Producers  of  Barre 
Granite  Memorials 


Representative 
Geo.  F.  Grassel, 
Zanesville,  Ohio. 


ifllllilllll 


|[L5 


GEO.  E.  BOND  CO., Inc. 

BARRE,  VT. 

MANUFACTURERS  OF  FINE 

Monumental  Work 

Specializing  Polished  Work  from  the 
Best  Barre  Granite 

ROCK  OF  AGES 


MONUMENT  DEALER’S  MANUAL 


183 


ANDERSON-FRIBERG  CO.,  Barre,  Vermont 


The  monument  we  illustrate  here  is  an  example  of  the  work  we  are 
turning  out.  When  your  monuments  are  built  by  us  you  are  getting 
the  best  that  money  can  buy.  Send  your  sketches  for  estimate  to 


NOTHING 
BUT  THE 
VERY 
BEST 
LIGHT 
BARRE 
GRANITE 
USED 
IN  OUR 
AXED  AND 
ROCK 
WORK 


AND 

ONLY 

BOUTWELL 
MILNE  & 
VARNllM’S 
ROCK 
OF 

AGES 

IN 

OUR 

POLISHED 

WORK 


fnllllllll!l!!l!ill!l!lllil!ll[|l!!!l!!ill!!i!l!l!lil]!!!l!!l!l!!il!lll!l!llllilllllllillllllllll^ 


lllllilll!!l!!lllll!llilll||l!lll!llllll 


■■ill 


WHEN  IT  COMES 

To  HIGH-CLASS  Work- 
manship and  PROMPT 
SERVICE,  You  can  count 
on  us. 


ROBINS  BROS., 


BARRE,  YT. 


Illllliil 


! !|  III  ! 


184 


MONUMENT  DEALER’S  MANUAL 


!ll!lilllllll[l!lllllllilllll!!ll!lll!ll!M 


A NEVER-FAILING  SERVICE 

Stands  Behind  The  “Trow  & Holden”  Line  of 

uBarre”  Stone  Working 
Tools  and  Supplies 

We  are  anxious  to  demonstrate  to 
you  c ur  ability  and  preparedness  to 
fill  your  needs  satisfactorily. 

Send  for  Catalog. 

TROW  & HOLDEN  CO. 

BARRE,  VERMONT 


[iiiiiiiiiiiiiiiinm 


iiiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii 


l!:illl!lllllllllllli! 


IIIHIIIIIIIII 


HEAT  ™E  AIR 

GOING  TO  YOUR  TOOLS 

THE  SYRACUSE  PRE-HEATER  will 
stop  tool  trouble  in  cold  weather  and 
increase  efficiency  of  your  air  plant  by 
using  waste  heat  from  a gas  engine 
exhaust,  stove  or  boiler  flue. 

Syracuse  Industrial  Gas  Co. 

SYRACUSE,  N.  Y. 

Builders  of  Complete  Power  Plants  for  Monumental  Works 

10  years  experience  — cheapest  power  known. 

Ask  for  details  of  our  Tool  Hardening  Furnaces 


It  III 


MONUMENT  DEALER'S  MANUAL 


185 


Monumental  Bronze 
Work  of  All  Kinds 

MANUFACTURERS  OF 

Cast  Bronze  Statuary , Tab- 
lets, Reliefs,  Honor  Rolls, 
Grilles,  Doors,  Urns,  Etc . 

We  execute  Models  as 
well  as  Bronze  Work 
CATALOG  SENT  UPON  REQUEST 

Estimates  Cheerfully  Furnished 

John  Harsch  Bronze  & 
Foundry  Co. 

11612  Madison  Ave.,  Cleveland,  0. 


10'— 0"  high 


1111111111 


National  Art  Bronze  Works  Co. 

Established  by  FREDERICK  C.  SCHMIDT  & SONS.  Incorporated. 


MEMORIAL  TABLETS 
RELIEF  PANELS 
LAMP  STANDARDS 
FOUNTAINS,  ETC, 
STATUARY  OF  ALL  SIZES 
LOST-WAX  AND  NATIONAL 
PROCESSES 


$hoiBC 

Jfoutibers 

Quality  First 


SPECIAL  ROUGH 
AND  FINISHED  CASTINGS 
IN  BRASS,  GUN  METAL 
PHOS.  BRONZE,  ALUMINUM 
ETC,  ALSO  SPECIAL 
ALLOYS  ACCORDING  TO 
SPECIFICATIONS 


Office  and  Foundries:  4535-37  Pope  Ave.,  St.  Louis,  U.  S.  A, 


7/  it's  QUALITY  that  counts  — You  It  give  us  the  order 


Address  all  communications  to  the  Company,  not  to  individuals 


— 


186 


MONUMENT  DEALER’S  MANUAL 


IMMIliilllll 


QUARTERS’  AND  MANUFACTURERS’ 
REPRESENTATIVE 


FOR 


Practically  all  the  Leading 

Monumental  Granites 


BARRE 

QUINCY 

ST.  CLOUD 

WESTERLY 

ITALIAN  STATUARY 

GRANITE  STATUARY 


Mausoleums 
Monuments 
and  Markers 


PIKE  RIVER  GRAY 
MARINETTE  RED 
MONTROSE  RED 
GRAY  DIAMOND 
ADIRONDACK  GREEN 
DAKOTA  MAHOGANY 
BERWICK  BLACK 


W.  O.  WILLISON  Exchange  Building  Chicago,  111. 


:!l!ll!l!!lllllllll!!l!ll!lllll!lllllllll!ll!!IIJ!ii 


WM.  M.  THOMAS 

205  Beaumont  Street 
ZANESVILLE,  OHIO 


Manufacturers  ’ Representative 
Wholesale  Only 


Author  of  the  Thomas  System  for  arriving 
at  the  retail  price  of  Monuments. 


i./nii 


MONUMENT  DEALER’S  MANUAL 

i8? 

^ 

i 

3.  JW.  patcbelber  & £>on 

DIXON,  ILL. 

REPRESENTING 

: HARRIS  GRANITE  QUARRIES  CO. 

CAMPBELL  NORTH  STAR  GRANITE  CO. 

J.  P.  CORSKIE  & SON 
J.  P.  SAPORITI  & CO. 

MILNE  & HECTOR 

A 

illlllllll!.!! 


mill! 


Gray  Eagle  Marble  Co. 

Producers  and  Wholesale  Dealers  of 
Quarry  Blocks  and  Full  Size  Sawed 
and  Coped  Slabs,  as  wanted 

Our  famous  “GRAY  EAGLE’*  Gray 
Equal  if  not  superior  to  any  Tennessee  Marble 

Samples  and  prices  on  application 

We  do  no  Finishing  or  Contract  Work 
P.  O.  Box  882,  Knoxville,  Tenn. 


188 


MONUMENT  DEALER’S  MANUAL 


“ The  Granite  IVith  a Contrast ” 

For  a fast  Selling  line  of  stock  work,  use 

“F/C”  BLACK  GRANITE 

Considered  the  very  best  Black  Granite  on  the  market. 

FRENCH  CREEK  GRANITE  CO. 

HARRY  S.  WRIGHT,  Mgr.  of  Sales  ST.  PETERS,  PA. 


^l|||||||l!lllllllllllllllllllll!llllllllll!llllll[|||||||||!lll!lllllllllllllll!l!l!lllll^ 

m 

The  IVestToWnsend  Pin\  Granite 

1 

is  unexcelled  for  monuments  and  mausoleums.  A 

| 

high  class  granite  for  polished  dies,  shows  a beauti- 

ful contrast  on  lettering  and  tracery  work,  hammers 

- 

I /' 

to  a fine  smooth  surface,  developing  a beautiful 

1 

light  pink  tint,  which  blends  nicely  with  bronze 

1 

- 

decorations. 

1 

We  can  furnish  this  granite  in  any  size  at  rea- 

- 

. 

sonable  prices. 

n 

Send  plans  for  estimates  on  rough  and  cut  work. 

i 

Samples  furnished  on  application. 

DUNCAN  RUSK,  Proprietor 

y 

’ 

West  Townsend,  Mass. 

[jiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiy 

MONUMENT  DEALER’S  MANUAL 


189 


Monumental  Sales  and  Supply  Co. 

214  South  Church  Street,  ROCKFORD,  ILLINOIS 

A Bliss  Design  Co.,  associated  industry 

Our  goal  will  be  to  supply  our  trade  with  many  specialties  and 
accessories  difficult  to  obtain. 

Design  Cases — Filing  Cabinets — Office  Equipment — Alphabets — Wall 
Designs — Window  Exhibits — Patented  Tools,  and  numerous  other 
supplies. 

Correspondence  solicited. 

Solid  Leather  Salesman’s 
Case  No.  7 

OPEN 

A Standard  favorite.  Size  15x13x12 
inches. 

Provision  for  250  (11x14)  designs. 
Liberal  pocket  arrangement  for  Samples, 
Sketches,  Order  Book,  etc. 

Two  roomy  pockets  for  designs. 

Rigid  reinforced  top  and  bottom. 
Adjustable  Lock. 

Made  with  New  Improvements. 

Smooth  black  Cowhide  Bag  Leather 

$12.00 


11x14  Rigid  Pocket  Insert  for  pro- 
tecting designs,  extra  1.00 

In  Stock. 

F.  O,  B.  Rockford,  Illinois. 

Cash  with  order,  5%  discount. 


iillliflH 

- 

CHAS.  F.EARL  & CO. 

Wholesale 

M 

Granite  and  Statuary 

' 

339  Genesee  Street 

1 

| 

UTICA,  N.  Y. 

7 

! 

| 

190 


MONUMENT  DEALER'S  MANUAL 


: 


WORRY 
about  that 
oil  stain 


OIL  GONE 

solvesjthe  problem 

Oil  Gone  has  done  the  work  all  right, 
says  Hugh  T.  Kennedy,  Baltimore,  Md. 
Oil  Gone  surely  does  the  work;  have 
never  used  anything  to  equal  it,  says 
A.  M.  Smith,  Findlay,  Ohio. 

Oil  Gone  removes  oil,  grease  and  paint 
from  granite. 

Oil  Gone  requires  no  fussy  directions. 

Oil  Gone  gives  permanent  results. 

Oil  Gone  sells  for  $25  a gallon;  $7  a 
quart;  $1.50  4 oz. 

"The  last  lot  of  P D Q you  mailed  us  is  about  used 
up.  It  is  the  best  for  the  purpose  we  ever  had." — 
Smyth  & Son,  London,  Canada. 


Remem 
ber — 


To  Buy  That  Quart  of 

PDQ 

PDQ  removes  acid  burn  and  mill  stains. 
PDQ  removes  iron  and  most  cases  of  sap. 
PDQ  never  fails  when  used  for  this 
purpose, 

PDQ  will  not  injure  the  polish. 

PDQ  will  not  injure  the  hands. 

PDQ — if  you  don’t  know  about  it,  ask 
for  sample. 

PDQ  sells  for  $2.50  a quart;  $7  per  gal- 
lon; 4 gallons  $25, 

“ The  cleaner,  P D Q is  certainly  fine." — G.  C. 
Wetstein,  President,  Jos.  H.  Peters  & Co.,  Inc., 
Louisville,  Ky. 


MANUFACTURED  ONLY  BY 


WM.  M.  ADRIAN,  48  Penn  St.,  QUINCY,  MASS. 


POLISHING  MACHINES 


Always  a stock  on  hand 
for  quick  shipment. 

HOLLOW  SPINDLES  FOR  WATER  SUPPLY 
ON  ALL  MACHINES 


F.  R.  PATCH  MANUFACTURING 
COMPANY  ::  Rutland,  Vermont 


lllllllllllll 


MONUMENT  DEALER’S  MANUAL 


191 


ESTABLISHED  1902 

The  Vulcan  Co. 

Clarkston, 

Mich. 

BRONZE 

For  MAUSOLEUMS 

TABLETS 
EMBLEMS,  ETC. 

SPECIAL  WORK  IN  BRONZE 
OUR  NEW  PLANT 
SUBURBAN  TO  DETROIT 


USE 

NEROBLU 

(blue-black) 

GRANITE 

for  polished 
me  morials 


Bonazzi  & Bonazzi 

Montpelier,  Vermont 


MACHINERY,  TOOLS 
m SUPPLIES 

OF  EVERY  DESCRIPTION  FOR 


GRANITE  WORKERS 


Acid 
Belting 
Brushes 
Buffer  Wheels 
Compressors 
Crystolon 
Emery  Wheels 
Felt 

Grindstones 

Hoists 


Hoop  Iron 

Hose 

Jacks 

Motors 

Plaster 

Putty  Powder 
Pneumatic  Tools 
Scrolls 
Shot 

Tools  of  all  kinds 
Wedge  Lead 


Prompt  Attention  and  Quick  Service 


The  Air  Brush 

holds  its  place  of  honor 
at  the  head  of  the  first 
class  Draftsman’s  out- 
fit the  world  over. 

It  being  one  of  the  neces- 
sities for  the  better  work. 

We  have  the  Brush,  also 
the  supplies;  and  repairs 
when  needed  given  prompt 
and  proper  attention. 

For  Particulars 
Address 


WRITE  TODAY 


Deming  Hardware  Co.,  Inc. 

MONTPELIER,  VERMONT 

SMITHIE’S  CLEANER  EATS  DIRT 


Air  Brush  Mfg.  Co. 

145  Nassau  St. 


Rockford,  III.,  U.S.A. 


192 


MONUMENT  DEALER’S  MANUAL 


GEO.  ARCHER,  3308  N.  Kimball  Avenue 

Phone  Monticello  1117 

GEO.  B.  ARCHER,  3109  Christiana  Ave. 

Phone  Monticello  1283 

Geo.  Archer 
& Son 

Mausoleum 

and 

Monument 

Setters 

Office  Phone  Main  3766 

Room  315  Chamber  of  Commerce  Building 
CHICAGO,  ILL. 

All  Work  Guaranteed.  Cleaning  and  Repair 
Work  Promptly  Attended  To. 

Stone  Setting 


Learn  to  Improve 
Your  Cemeteries 

BY  RFADING 

PARK  AND 
CEMETERY 

The  only  Journal  in  its  field 

Subscription  $2.00  a year.  The 
Monumental  News  and  Park  and 
Cemetery,  1 year,  $3.50;  in  Canada 
and  abroad,  $4.25. 

SPECIAL  OFFER:  Monumental 

News  and  Park  and  Cemetery,  1 
year,  with  a copy  of  Stephen 
Child’s  Book,  “Landscape  Archi- 
tecture,” $3.50,  until  our  copies  of 
this  book  are  exhausted. 

Park  and  Cemetery 

536  South  Clark  Street 
CHICAGO 


FLASCHNERS 

Burnt-in  China 

PORTRAITS 


to  set  in 

MONUMENTS  and  HEADSTONES 
are  warranted 

Everlasting  Weatherproof 
ADDRESS 

L.  FLASCHNER  CO. 


1398  Third  Ave.  : NEW  YORK 


GETTY  CENTER  LIBRARY 

IIIIIIIIIIIIIIIIIIIIIIIIIIL 

3 3125  00142  3470 


GETTY  CENTER  LIBRARY 


3 3125  00142  8958 


